Landscaping Inspirational Quotes

We have to endure the discordance between imagination and fact. It is better to say, “I am suffering,” than to say, “This landscape is ugly.

The wish to travel seems to me characteristically human: the desire to move, to satisfy your curiosity or ease your fears, to change the circumstances of your life, to be a stranger, to make a friend, to experience an exotic landscape, to risk the unknown..

Sunlight shines beauty aglow, by the banks of the river that quietly flow. Misty rain yields comfort to a muggy night. Wind of a gentle breeze, calming the skies destine of rendering light.

There is no place like the beach... where the land meets the sea and the sea meats the sky

Summer was on the way; Jem and I awaited it with impatience. Summer was our best season: it was sleeping on the back screened porch in cots, or trying to sleep in the tree house; summer was everything good to eat; it was a thousand colors in a parched landscape; but most of all, summer was Dill.

I lacked the knowledge of linear perspective needed to get into the art school, so now I whitewash walls and imagine I’m heaven’s landscape painter.

There are riches enough for all of us, no matter our abilities or circumstances. It is only the inspiration that requires summoning.

The nature of life is mess, chaotic, exquisitely beautiful, excruciatingly painful, immensely joy-filled, and unpredictable.

Freedom wanders in the landscape of the mind, and nourishes the deepest yearnings of the soul.

The calm within the storm is where peace lives and breathes. It is not within perfect circumstances or a charmed life... it is not conditional. Peace is a sacred space within, it is the temple of our internal landscape. We are free to visit it, whenever we seek sanctuary. Underneath the chaos of everyday living, peace is patiently awaiting our discovery... go within.

We travel to see beautiful places and to meet great souls.

Memory is the fourth landscape.

The spectacular landscape circling the fortress supplies an essential backdrop, inspiring dreamers to wander its ruins for the sake of it; North American tourists, bound down by their practical world view, are able to place those members of the disintegrating tribes they may have seen in their travels among these once-living walls, unaware of the moral distance separating them, since only the semi-indigenous spirit of the South American can grasp the subtle differences.

You yearn to stay in this in-between place, where the beauty of the times you have freshly bade farewell to is still alive and vivid in your mind – almost real – and the reality of your new circumstances has yet to fully sink in. You listen to the familiar melodies that had accompanied you on your journey, and allow the music to evoke landscapes and scenes in your mind. The songs caress your sub-consciousness and fill your being with an airy joy. You are both here and elsewhere. Or perhaps you are everywhere and nowhere.

It was a lovely landscape. It was idyllic, poetical, and it inspired me. I felt good and noble. I felt I didn't want to be sinful and wicked anymore. I would come and live here, and never do any more wrong, and lead a blameless, beautiful life, and have silver hair when I got old, and all that sort of thing.

We search for happiness across every landscape, if only we knew that the seed in which it first grows, is planted within ourselves...

Dare to explore the beautiful places of the world.

Every voyage is self-awaken.

Indeed, Gabriel knew it wasn't all just empty green fields of moorland grass for miles around. Tucked within the wide landscapes of these uplands was an unpredictability that a less observant person might never be aware of. There were waterfalls concealed in swaths of wilderness, rocky stream beds ramblings in deep valleys, and...knotted sheets?

Our true nature is bliss. That bliss is like the sun that always shines. It remains ever present, but the events in life and clouds of worry and even emotions like happiness may obscure it like storm clouds obscure the sun.

I don't believe the inner work ever really ends, and sometimes I'd like to take a vacation.

Art invites us to become explorers and excavators of our vast internal landscapes, discovering new terrain and digging deep into the past to unearth forgotten experiences and emotion.

I want my life to be a celebration of slowness. Walking through the sage from our front door, I am gradually drawn into the well-worn paths of deer. They lead me to Round Mountain and the bloodred side canyons below Castle Rock. Sometimes I see them, but often I don't. Deer are quiet creatures, who, when left to their own nature, move slowly. Their large black eyes absorb all shadows, especially the flash of predators. And their ears catch each word spoken. But today they walk ahead with their halting prance, one leg raised, then another, and allow me to follow them. I am learning how to not provoke fear and flight among deer. We move into a pink, sandy wash, their black-tipped tails like eagle feathers. I lose sight of them as they disappear around the bend. On the top of the ridge I can see for miles.... Inside this erosional landscape where all colors eventually bleed into the river, it is hard to desire anything but time and space. Time and space. In the desert there is space. Space is the twin sister of time. If we have open space then we have open time to breath, to dream, to dare, to play, to pray to move freely, so freely, in a world our minds have forgotten but our bodies remember. Time and space. This partnership is holy. In these redrock canyons, time creates space--an arch, an eye, this blue eye of sky. We remember why we love the desert; it is our tactile response to light, to silence, and to stillness. Hand on stone -- patience. Hand on water -- music.

Bloom with hope! Breathe in with hope in your soul. Thrive on with endurance in your heart. Move on with a productive mind. Listen carefully to the soft message of whispering hope.

Grow in a way without losing much of our inner childlike deep senses embracing truthful, pure, simple relief of appreciation and gratitude.

Character and attitude deficiencies are piercing thorns depending your handhold

Use our memories as an asset not as a liability. Don't let it be our inner curse but share them as a rare gift.

Embrace the magical gift of serenity in your daily life. Nothing beats patience, humility, honesty and tranquility.

When strange objects shapes the landscape, we get fiction

It is safe to say that the Teton Range is as breathtaking as any mountain landscape one could ever see.

Good books were like amazing sunsets or awe-inspiring landscapes, better enjoyed with someone else. There was no greater experience in the world than sharing the love of a book, discussing its finer points, and reliving the story all over again.

A loner by nature and an introvert... i am a twinkling star, burning bright amidst a cloudless night. As such, i tend to fade in and out of people's lives. This aspect of me is often misunderstood as rejection or a lack of love and caring. In reality, the only way i can survive as an introvert, is to drop from the sky, from time-to-time, recharging within the energizing landscape of my inner-universe. To love me, is to let me me have the space i need to illuminate the sky. I can't be taken hostage or held captive. Inner-light is what gives my star its twinkle.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I’m given and the soul I was given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don’t read it, or are not entertained, that’s fine too

This is the feeling that I call ‘ontological rootedness’ – ontology being that branch of philosophy that deals with the nature and experience of existence. My suggestion is that we will love only those (very rare) people or things or ideas or disciplines or landscapes that can inspire in us a promise of ontological rootedness. If they can, we will love them regardless of their other qualities: regardless of how beautiful or good they are; of how (in the case of people we love) generous or altruistic or compassionate; of how interested in our life and projects. And regardless, even, of whether they value us. For love's overriding concern is to find a home for our life and being.

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.

Take the pain and grow beauty...You know I've always loved volcanoes. I love how they spew searing, deadly lava that goes on to nurture the most beautiful landscapes on earth. It's from searing pain that the deepest beauty can sprout

Beware of destructive individuals whose spirits breathe every day the worst toxic oxygen of the soul, "SALIGIA" Superbia, Avaritia, Luxuria, Invidia, Gula, Ira, Acedia. No matter how much goodness, patience, understanding, assistance, forgiveness and letting go you have given them, they will resurface again and again at the doors of your home to impede your happiness. Let truth and goodness always prevail but never be again a doormat of their abusive, evil ways.

It is in vain to dream of a wildness distant from ourselves. There is none such. It is in the bog in our brains and bowels, the primitive vigour of Nature in us, that inspires that dream. I shall never find in the wilds of Labrador any greater wildness than in some recess of Concord, i.e. than I import into it.

It was her stunning blend of confidence and competence that inspired them, her indomitable will, her ability to bend a harsh landscape to her own ends, to do what needed to be done to provide for herself and her family every day, without fail.

Rachael could see the lavender fields from where they sat at the kitchen table. They stretched in a purple haze over the landscape, the bright sunshine washing over them. The mauve complimented the blue-grey of the Australian bush in the far distance.

Inherited patterns and societal conditioning shape our emotional landscape, but we hold the power to rewrite our emotional story.

Like dust brushed from an old painting, as we journey beneath the surface layers of life, another landscape is revealed.

Beauty runs skin deep not on superficial assumptions or criticisms of many people. Live with a beautiful mind and heart. Live with a beautiful soul.

Find the portals to harmony and moments of balance on what you love to do and what you choose not to do.

Hope docks in my heart

The soul-Self doesn't follow the crowd. It encourages you to speak up when you need to and live by your truth.

The soul of place is like an invisible net --or a force field -- cast up at times from within a house, neighborhood, or landscape to draw us into its labyrinthine folds.

When you travel, be fully present in the place of voyage.

Turn the TV off and read an inspiring book, it will make a difference behind the camera.

That is the secret of poetry. We burn in the woman we adore, we burn in the thought we espouse, we burn in the landscape that moves us

Maybe I went a bit too far, but that’s what people want now. There’s an expectation that children be treated poorly in their literature. Everyone wants to see children treated badly. So that … well, so that when they triumph over evil we all feel lifted up. It’s inspirational.

It is a joy to share good advice. It takes a grateful ear to listen wisely. It's always up for us to take the right action and fulfilling path that can truly serve for what is the best.

The full moon was rising, looking huge and pale, the black spots appearing like a wise man smiling. The moon followed me while houses, cars, lands and trees disappeared blindly onto the tracks. It seemed like a very slow moon, considering the landscapes beneath it were constantly disappearing.

Il passato non si può cambiare, con l'accettazione, il perdono, la penitenza e risoluzione, possiamo ampliare il futuro. The past cannot be changed. With acceptance, forgiveness, atonement and resolution, we can broaden the future.

He pointed out to me the shifting of colours of the landscape and the appearances of the sky. ''This is what it is to live,'' he cried; 'now I enjoy existence! But you, my dear Frankenstein, wherefore are you desponding and sorrowful?

I only had to drop acid once to know that Timothy Leary was right about questioning authority. Motorcycling is like life. There's nothing solid about it. Something not even the asphalt under your tires. Time on a motorcycle is unlike time spent anywhere else. There are moments lost in the landscape, seconds devoted solely to balance, and long stretches spent spiraling inward.

Mistress Creation keeps calling my name... i long for her, and she, for me... we will be reunited soon. In the interim, i bide my time dreaming of her, writing about her and stretching her across the vast landscape of my imagination. "Soon", i whisper to her, "Soon

Art is an adventure. When it ceases to be an adventure, it ceases to be art. Not all of us pursue the inaccessible landscapes of the twelve-tone scale, just as not all of us strive for inaccessible mountain-tops, or glory in storms at sea. But the human incidence is there. Could it be that these two impractical pursuits — of beauty and of adventure’s embrace — are simply two differing profiles of the same uniquely human reality?

Few western wonders are more inspiring than the beauties of an Arizona moonlit landscape; the silvered mountains in the distance, the strange lights and shadows upon hog back and arroyo, and the grotesque details of the stiff, yet beautiful cacti form a picture at once enchanting and inspiring; as though one were catching for the first time a glimpse of some dead and forgotten world, so different is it from the aspect of any other spot upon our earth.

Face each day with radiant, nurturing love, confidence, a bright vision and creativity with enduring determination and strength matched with a breathing courage as you happily embrace your responsibility and growth in many areas of life. Combine your energy and joy, your passion and vision in creating a brighter day.

As spring comes with thick pink blooms, daffodil openings and lavender lilies, the earth starts singing a song of awakening, and from the depths of despair comes the landscape of colors and hope for spring rain falls on the grounds at last. The earth is reborn with smiling blossoms and you believe in something called second chances.

No matter where you went—no matter how ancient the traditions, no matter how grand the history, no matter how awe-inspiring the landscape—there was always a market for a cheap Happy Meal. The Lotus Way might lead to nirvana, but it was a long trip, and when you had a lot of miles to cover, it was just natural to want some drive-thru along the road.

World building is not just about creating a place, but crafting a story that exists within it, giving life to its inhabitants and breathing soul into its landscapes.

Within seconds, the happy, musical-inspired landscape I’d imagined melted away like a Salvador Dalí painting.

Make the best of what you have today. Today is the day. The best is here: now, it is always be at the present moment.

Date un regalo giornaliero: "capire ognuno." Give a daily gift: "understand one another.

The awe is infinite. What is possible is everything. How long have we overlooked the internal majestic landscapes of pure freedom within us?

I collect things. Not words, but the landscape of them. The nightswimming, cold water pursuit of thought. The earth that some may like us mercurial as we remain.

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

Great places, great memories.

humus For over the landscape of a dream during my silence a slow kiss Twist my memory Tânia Tomé © Book - " Tie me behind the sun" 2010

Reality, at first glance, is a simple thing: the television speaking to you now is real. Your body sunk into that chair in the approach to midnight, a clock ticking at the threshold of awareness. All the endless detail of a solid and material world surrounding you. These things exist. They can be measured with a yardstick, a voltammeter, a weighing scale. These things are real. Then there’s the mind, half-focused on the TV, the settee, the clock. This ghostly knot of memory, idea and feeling that we call ourself also exists, though not within the measurable world our science may describe. Consciousness is unquantifiable, a ghost in the machine, barely considered real at all, though in a sense this flickering mosaic of awareness is the only true reality that we can ever know. The Here-and-Now demands attention, is more present to us. We dismiss the inner world of our ideas as less important, although most of our immediate physical reality originated only in the mind. The TV, sofa, clock and room, the whole civilisation that contains them once were nothing save ideas. Material existence is entirely founded on a phantom realm of mind, whose nature and geography are unexplored. Before the Age of Reason was announced, humanity had polished strategies for interacting with the world of the imaginary and invisible: complicated magic-systems; sprawling pantheons of gods and spirits, images and names with which we labelled powerful inner forces so that we might better understand them. Intellect, Emotion and Unconscious Thought were made divinities or demons so that we, like Faust, might better know them; deal with them; become them. Ancient cultures did not worship idols. Their god-statues represented ideal states which, when meditated constantly upon, one might aspire to. Science proves there never was a mermaid, blue-skinned Krishna or a virgin birth in physical reality. Yet thought is real, and the domain of thought is the one place where gods inarguably ezdst, wielding tremendous power. If Aphrodite were a myth and Love only a concept, then would that negate the crimes and kindnesses and songs done in Love’s name? If Christ were only ever fiction, a divine Idea, would this invalidate the social change inspired by that idea, make holy wars less terrible, or human betterment less real, less sacred? The world of ideas is in certain senses deeper, truer than reality; this solid television less significant than the Idea of television. Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.

Have the capacity to adapt to change, it's your healthy growth, intelligently and emotionally. Our life can be full of extrinsic surprises, your flexibility is a key when you accept changes.

Reality had briefly slid aside one of its black, opaque panels, to give him a glimpse of the gears that ticked behind it. Saunders had discovered a universal constant, like gravity or the quantum nature of light. No matter where you went—no matter how ancient the traditions, no matter how grand the history, no matter how awe-inspiring the landscape—there was always a market for a cheap Happy Meal.

The interstate seems to stretch for miles in a straight line as the fields and farms give way to a more barren landscape. "Loneliness has been good to me' is playing on my personal radio where I hear songs before I write them, and I wonder if this is just another mirage I will forget or if this will become a real song. It has been a long time since I've written a song, and the visits from the muse seem to be lessened by something. I still keep my faith that the muse knows best and whn I am ready the inspiration will be there. I am trying not to look too ready. I know that just invites false promise.

The Empress surrounds you at all times. She feeds the soul with her brilliance and beauty of the night sky. Mountain landscapes, rolling hills, and ocean waves rise like the curve of her hips. Her breath is the warm air of summer, her cool palms are the willow tree's shade. She is the peace of mind of a walking meditation. The Empress fills you with the entirety of the world's beauty if you let her in. She shows you in no uncertain terms, that you are never, ever alone. You are part and parcel of the glistening, pulsating world of energetic and beautific connection. You are her and she is you. She is everything and everything is you.

I calculated how easy it would be to pull a chair next to the windowsill, climb up, and simply allow my body to fall four stories to the street. Then an inner voice broke in, "There's got to be something more. Go find it.

A con artist, a total imposter, had played on my desires for the Cinderella dream and won a Monopoly trip to jail. I had hoped for uprightness, integrity, and potentially a relationship. Longing overshadowed the voice of conscience.

I have been working all the time,” he said, “and it’s like a flood going through the landscape of your soul. It’s good because it takes away a lot. It’s cleansing. If I hadn’t been at work all the time, I would have been a lunatic.” Morton

This isn't an inspirational story. This isn't a story about keeping the flame of hope alive through adversity, and burning through to the other side, where what is wished for can at last be had. This is a story, I think, about what happens when in a very real sense that flame of hope is put out entirely. When forever after you can't find the muscle strength, deep in you, to rise to the moment when something wished-for might actually be attained, or even when something might be wished for in the first place.

The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge by David McCullough (Simon and Schuster, 1972) The Roebling Legacy by Clifford Zink (Princeton Landmark Publications, 2011) Silent Builder: Emily Warren Roebling and the Brooklyn Bridge by Marilyn E.

Gifford presented the house to Bonaguidi as a series of 'telescopic' spaces in the landscape, and his inspiration hints at the atmosphere in the Pines at this time. A telescope is a device often used for spying: it elongates when engaged in order to capture objects in its gaze.

Since the late 1840s settlers used close-planted Osage orange trees along the borders of their farms, creating, as the thorny wood filled in over some years of trimming, a living fence “horse-high, bull-strong and hog-tight.” It was barbed wire in the days before barbed wire was invented.

The failure craze—the “fail fast, fail often” culture that wants us to embrace failure seemingly indiscriminately—takes inspiration from the intelligent failures inherent to innovation but risks glossing over the vast and varied failure landscape, which also includes basic and complex failure.

I love every part of the book writing process from the excitement of the initial idea to weaving all the tiny elements of the story from the air. I draw my inspiration from the landscape around me, from quirky characters I meet and from the strange and convoluted thoughts that dance between my ears.

One of the most connective things we can do for ourselves, is to become world travelers of our own internal landscapes. What i love about creating art, is the excitement of turning that landscape inside out for all to see. And the kind of courage that takes, when i don't know what the outcome will be...

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.

Rise flexibly, courageously and perseveringly upon the challenges and trials in our life. Beneath the depth of fresh wounds, heavy cross and years of scars, is our wise silent mind, a beating faithful heart with understanding and patience matched with a humble soul who walks with hope towards charity, kindness, peace and harmony.

Defining Europe is a slippery undertaking. Its diversity, evolutionary history and shifting borders make the place almost protean. Yet, paradoxically, Europe is immediately recognisable. With its distinctive human landscapes, once-great forests, Mediterranean coasts and Alpine vistas—we all know Europe when we see it. And the Europeans themselves, with their castles, towns and unmistakable music, are every bit as instantly recognisable. Moreover, it is important to recognise that Europeans share a highly influential dreamtime—in the ancient worlds of Greece and Rome. Even Europeans whose forebears were never part of this classical world claim it as their own, looking to it for knowledge and inspiration.

In other words, walking through the dark forest, you might eventually look up through the trees, see that the sky above is the same as the sky over the sunny pasture, that it is one canopy of light spread over your whole life’s landscape. Grief and joy are in the same life, but it’s only in the forest where you notice the shafts of sunlight spilling through.

Izima's elaborate stagings of these exotic murder scenes had their genesis through a series of processes, from inspirational idea through imagination, to intention, and then initiation. The ascendant 'i' here might well be symbolic of Izima's 'I,' or ego, as he both composes and conducts these visual compositions, the sole purpose of which is to transfix and seduce the viewer's 'eye.

Each blooming flower breathe an open soul of nature's gratitude. Every blooming friendship is an opening of both heart and mind to touch a unique growth of one's soul. Jolly good friends make you bloom with joy even on a coldest winter as you share your common interests in life, in work, in art, with people and of your passion. Treasure your true friends and feel blessed in your life to have them.

You have to be determined on your quest for the fulfilment you need, and while you struggle, living and searching, carry a determined face, heart and spirit more than your inner perseverance. When you're earnestly searching for a job or something valuable in thriving on this life, let determination be your mindset. Have that creativity, resourceful spirit, inquisitive behaviour and resilience matching your gut to succeed in your search.

In her book Wanderlust: A History of Walking, Rebecca Solnit writes: A path is a prior interpretation of the best way to traverse a landscape, and to follow a route is to accept an interpretation, or to stalk your predecessors on it as scholars and trackers and pilgrims do. To walk the same way is to reiterate something deep; to move through the same space the same way is a means of becoming the same person, thinking the same thoughts. The

Humanity is a monster that will eat you alive. It is a pestilence sweeping across the landscape. But people? People can be alright. Loving even the smallest number of people is a reason to stick around, a reason to get out of bed in the morning. Trying to love people while holding onto hope is a daily war where the enemy is so much stronger than you. The enemy has tanks and bombs. They have napalm they’ll drop on you, and you’ve got Nerf guns and wooden swords.

There's no such things as picking a side between right and wrong. Human mind is great, And in all it's glory, it can go not just both ways, But everywhere it wants to go. Right and wrong is just the road to take you. You have a foot on one path, And the second on the other, And you ride along, deciding at each steps, Where you're gonna put your weight. The landscape surrounding... Is where the great human mind can go. What is surrounding you? A forest, or a desert?

Never play the princess when you can be the queen: rule the kingdom, swing a scepter, wear a crown of gold. Don’t dance in glass slippers, crystal carving up your toes -- be a barefoot Amazon instead, for those shoes will surely shatter on your feet. Never wear only pink when you can strut in crimson red, sweat in heather grey, and shimmer in sky blue, claim the golden sun upon your hair. Colors are for everyone, boys and girls, men and women -- be a verdant garden, the landscape of Versailles, not a pale primrose blindly pushed aside. Chase green dragons and one-eyed zombies, fierce and fiery toothy monsters, not merely lazy butterflies, sweet and slow on summer days. For you can tame the most brutish beasts with your wily wits and charm, and lizard scales feel just as smooth as gossamer insect wings. Tramp muddy through the house in a purple tutu and cowboy boots. Have a tea party in your overalls. Build a fort of birch branches, a zoo of Legos, a rocketship of Queen Anne chairs and coverlets, first stop on the moon. Dream of dinosaurs and baby dolls, bold brontosaurus and bookish Belle, not Barbie on the runway or Disney damsels in distress -- you are much too strong to play the simpering waif. Don a baseball cap, dance with Daddy, paint your toenails, climb a cottonwood. Learn to speak with both your mind and heart. For the ground beneath will hold you, dear -- know that you are free. And never grow a wishbone, daughter, where your backbone ought to be.

When a fine old carpet is eaten by mice, the colors and patterns of what's left behind do not change,' wrote my neighbor and friend, the poet Jane Hirschfield, after she visited an old friend suffering from Alzheimer's disease in a nursing home. And so it was with my father. His mind did not melt evenly into undistinguishable lumps, like a dissolving sand castle. It was ravaged selectively, like Tintern Abbey, the Cistercian monastery in northern Wales suppressed in 1531 by King Henry VIII in his split with the Church of Rome. Tintern was turned over to a nobleman, its stained-glass windows smashed, its roof tiles taken up and relaid in village houses. Holy artifacts were sold to passing tourists. Religious statues turned up in nearby gardens. At least one interior wall was dismantled to build a pigsty. I've seen photographs of the remains that inspired Wordsworth: a Gothic skeleton, soaring and roofless, in a green hilly landscape. Grass grows in the transept. The vanished roof lets in light. The delicate stone tracery of its slim, arched quatrefoil windows opens onto green pastures where black-and-white cows graze. Its shape is beautiful, formal, and mysterious. After he developed dementia, my father was no longer useful to anybody. But in the shelter of his broken walls, my mother learned to balance her checkbook, and my heart melted and opened. Never would I wish upon my father the misery of his final years. But he was sacred in his ruin, and I took from it the shards that still sustain me.

Since the assassinations of King and Robert Kennedy, wrote Remnick, the liberal constituencies of America had been waiting for a savior figure. Barack Obama proposed himself. In the eyes of his supporters, he was a promise in a bleak landscape; he possessed an inspirational intelligence and an evident competence . . . he was an embodiment of multi-ethnic inclusion when the country was becoming no longer white in its majority. This was the promise of his campaign, its reality or vain romance, depending on your view.35

Run. Eat. Drink. Eat more. Don't throw up. Instead, take a piss. Then take a crap. Wipe your butt. Make a phone call. Open a door. Rid your bik. Ride in a car. Ride in a subway. Talk. Talk to people. Read. Read maps. Make maps. Make art. Talk about your art. Sell your art. Take a test. Get into a school. Celebrate. HAve a party. Write a thank-you note to someone. Hug your mom. Kiss your dad. Kiss your little sister. Make out with Noelle. Make out with her more. Touch her. HOld her hand. Take her out somewhere. Meet her friends. Run down a street with her. Take her on a picnic. Eat with her. See a movie with her. See a move with Aaron. Heck, see a movie with Nia, once you're cool with her. Get cool with more people.. Drink coffee in little coffee-drinking places. Tell people your story. Volunteer. Go back to Six North. Walk in as a volunteer and say hi to everyone who waited on you as a patient. Help people. Help people like Bobby. Get people books and music that they want when they're in there. Help people like Muqtada. Show them how to draw. Draw more. Try drawing a landscape. Try drawing a person. Try drawing a naked person. Try drawing Noelle naked. Travel. Fly. Swim. Meet. Love. Dance. Win. Smile. Laugh. Hold. Walk. Skip. Okay, it's gay, whatever, skip. Ski. Sled. Play basketball. Jog. Run. Run. Run. Run home. Run home and enjoy. Enjoy. Take these verbs and enjoy them. They're yours, Craig. You deserved them because you chose them. You could have left the all behind but you chose to stay here. So now live for real, Craig. Live. Live. Live. Live. Live.

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

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

The magics that were born here may have originated in the English landscape but they were informed from the very beginning by different cultures. The Druids were influenced by the Classical world, as was that world by India. Alchemy was influenced by Arabia, Medieval magic by Jewish cabbalism. The Golden Dawn was inspired by German Rosicrucianism, the French Occult Revival, and the religion of Ancient Egypt. Thelema was a result of Crowley’s explorations in Far and Near Eastern religion and magic, which informed Gardner’s Wicca too. For Dion Fortune, Christ, the Egyptian gods and the gods of the British Isles were equally inspiring, and as for Chaos magicians: they would claim the Universe and the world of physics as their inspiration.

I think I'm beginning to understand that the quest is the point. Our sense of enchantment is not triggered only by grand things; the sublime is note hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it. It becomes meaningful when we invest in meaning. The magic is of our own conjuring. Hierophany--that revelation of the sacred--is something that we bring to everyday things, rather than something that is given to us. That quality of experience that reveals to us the workings of the world, that comforts and fascinates us, that ushers us towards a greater understanding of the business of being human: it is not in itself rare. What is rare is our will to pursue it. If we wait passively to be enchanted, we could wait a long time.

There is a madness about wilderness. The "savage and dreary" wilderness... Are we more enlightened in proclaiming that such places no longer disturb us, or have we lost touch with some fundamental paradox? Wilderness activists frequently insist that their aim is to reeducate the West into an unequivocal appreciation of the beauty of "natural" wilderness. Such a goal is puzzling, for it is unlikely that any human culture has unparadoxically embraced all its known regions of landscape. There is a concerted effort to clean up the imagination of wilderness and to remove any gloom associated with it. In the past this was achieved by literally clearing away the forests, swamps and jungles or by cultivating the deserts. Now it is being fantasized away by insisting that the oppressiveness and fear traditionally inspired by wilderness were biased and wrong.

For all his faults, Leifs was a unique composer, driven by the ambition to create an Icelandic sound that might intrigue and inspire the world by bringing to life the country’s literature, landscape, and vernacular songs. His friend, the writer and diplomat Kristján Albertsson, who was unusually cognizant of the composer’s strengths and weaknesses, wrote that Leifs’s purpose had been to give Iceland “a voice among the musics of the world, to let the cool, strong gale of the Icelandic weather rush into the world’s music—and to remind ourselves who we are, what we are, can be or become if we choose to be ourselves, true to our origins and character—and not simply epigones in the world of art.” In his best works, Leifs achieved his goal. They are born of a deep personal conviction and epitomize the unique soundscape of his country: roaring ocean, erupting mountains, cracking icebergs, trembling earth.

For all his faults, Leifs was a unique composer, driven by the ambition to create an Icelandic sound that might intrigue and inspire the world by bringing to life the country’s literature, landscape, and vernacular songs. His friend, the writer and diplomat Kristján Albertsson, who was unusually cognizant of the composer’s strengths and weaknesses, wrote that Leifs’s purpose had been to give Iceland “a voice among the musics of the world, to let the cool, strong gale of the Icelandic weather rush into the world’s music—and to remind ourselves who we are, what we are, can be or become if we choose to be ourselves, true to our origins and character—and not simply epigones in the world of art.” In his best works, Leifs achieved his goal. They are born of a deep personal conviction and epitomize the unique soundscape of his country: roaring ocean, erupting mountains, cracking icebergs, trembling earth.

Imagine standing on the very edge of the Grand Canyon. The bloodred gorge stretches as far as you can see in every direction. The canyon floor drops precipitously below your feet. You feel dizzy and step back from the edge. Hawks circle through rock crevasses so barren and stripped of vegetation you could as well be on the moon. You are amazed. You are humbled. You feel elevated. This is awe. According to psychologists Dacher Keltner and Jonathan Haidt, awe is the sense of wonder and amazement that occurs when someone is inspired by great knowledge, beauty, sublimity, or might. It’s the experience of confronting something greater than yourself. Awe expands one’s frame of reference and drives self-transcendence. It encompasses admiration and inspiration and can be evoked by everything from great works of art or music to religious transformations, from breathtaking natural landscapes to human feats of daring and discovery.

Myth is also where the differences lie. Where Crusoe articulates a ‘foundation myth’ that shows Western Man asserting his autonomy and dominance as if from scratch, the Journal charts his encounter with a phenomenon he cannot understand or control. Crusoe celebrates the resourcefulness needed to create a world from new; the Journal, the endurance to watch it fall apart. For that reason it is arguably this book that among all Defoe’s works speaks most eloquently to early twenty-first-century readers attuned to imaginary landscapes of nuclear and environmental devastation, to grim fantasies of alien invasion, to the panic and policies that accompany epidemic disease... Turning an eye on the commercial and spiritual centre of empire rather than an island outpost, it dares to envisage London consumed not just by disease but violent self-interest that tears at the social fabric. It is that very modern phenomenon, an illness narrative, but one in which the patient is a whole city. Works inspired by it—Mary Shelley’s The Last Man, Albert Camus’s La Peste—do not so much dismantle its ideology as try to render afresh the uniquely disturbing impact. (David Roberts)

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

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

Now that Mexicans can retain their nationality, activist groups encourage them to naturalize and become active in Hispanic causes. There was a huge push in 2007 to naturalize in time for the 2008 elections. Newspapers and television joined church groups and Hispanic activists in a campaign called Ya Es Hora. ¡Ciudadanía! (It’s time. Citizenship!). La Opinión, a Los Angeles newspaper, published full-page advertisements explaining how to apply for citizenship, and the Spanish-language network Univision’s KMEX television station in Los Angeles promoted citizenship workshops on the air. A popular radio personality named Eddie Sotelo ran a call-in contest called “Who Wants to be a Citizen?” in which listeners could win prizes by answering questions from the citizenship exam. In 2008, Janet Murguia, president of La Raza, was frank about why she was part of a widespread effort to register Hispanics to vote: She wanted them to “help shape the political landscape.” In California, where 300,000 people—overwhelmingly Hispanic—were naturalized in 2008, whites were expected to be a minority of the electorate in 2026. Joanuen Llamas, who immigrated legally in 1998, naturalized in 2008 after attending the massive 2006 demonstrations in support of illegal aliens. She said she was inspired by one of the pro-amnesty slogans she had heard: “Today we march, tomorrow we vote.” Hispanics like her are not naturalizing because they love America but because they want to change it.

The earth is our first and most foundational relationship of nurturance, anchorage, and agency that secures livelihood forward. Earth is our first mother—the generous lifeline every human and nonhuman on this planet shares in common without exception. Our relationship with the earth is a material, unwavering truth that determines our fundamental existence on this planet. In separating us from this relationship or reconfiguring and exploiting it on the occupiers’ terms, colonialism interrupts our deeper contract as sacred living beings of a sacred living planet, and the practical ways we have evolved to navigate and mutually sustain life. It fractures our sovereignty in a multifaceted way. We are the earth. An embodied relationship with the land imbues innate reverence for life, an embedded knowledge of its inherent dignity. We understand all beings have a consciousness, and we are a fundamental part of the ecosystem. It teaches us how to steward life and land, through intimacy with its natural cycles. Our specific landscapes have sustained our bodies and provided for our societies generationally; they have also informed every aspect of our social structures, inspired our ancestral cosmologies, narrated our stories, animated our foods and agricultural practices, intonated our languages and the rhythms of our songs, revealed our gods, and inspired every aspect of our relationships, rituals, beliefs, and identities. These places have guided every aspect of our self-determined livelihoods and cultural formation, including our understanding of ourselves and each other in the universe.

I think I'm beginning to understand that the quest is the point. Our sense of enchantment is not triggered only by grand things; the sublime is not hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it. It becomes meaningful when we invest it with meaning. The magic is of our own conjuring. Hierophany--that revelation of the sacred--is something that we bring to everyday things, rather than something that is given to us. That quality of experience that reveals to us the workings of the world, that comforts and fascinates us, that ushers us towards a greater understanding of the business of being human: it is not in itself rare. What is rare is our will to pursue it. If we wait passively to become enchanted, we could wait a long time. But seeking is a kind of work. I don't mean heading off on wild road trips just to see the stars that are shining above your own roof. I mean committing to a lifetime of engagement: to noticing the world around you, to actively looking for small distillations of beauty, to making time to contemplate and reflect. To learning the names of the plants and places that surround you, or training your mind in the rich pathways of the metaphorical. To finding a way to express your interconnectedness with the rest of humanity. To putting your feet on the ground, every now and then, and feeling the tingle of life that the earth offers in return. It's all there, waiting for our attention. Take off your shoes, because you are always on holy ground.

He had been a timid child in New York City, cut off from schoolboy society by illness, wealth, and private tutors. Inspired by a leonine father, he had labored with weights to build up his strength. Simultaneously, he had built up his courage “by sheer dint of practicing fearlessness.” With every ounce of new muscle, with every point scored over pugilistic, romantic, and political rivals, his personal impetus (likened by many observers to that of a steam train) had accelerated. Experiences had flashed by him in such number that he was obviously destined to travel a larger landscape of life than were his fellows. He had been a published author at eighteen, a husband at twenty-two, an acclaimed historian and New York State Assemblyman at twenty-three, a father and a widower at twenty-five, a ranchman at twenty-six, a candidate for Mayor of New York at twenty-seven, a husband again at twenty-eight, a Civil Service Commissioner of the United States at thirty. By then he was producing book after book, and child after child, and cultivating every scientist, politician, artist, and intellectual of repute in Washington. His career had gathered further speed: Police Commissioner of New York City at thirty-six, Assistant Secretary of the Navy at thirty-eight, Colonel of the First U.S. Volunteer Cavalry, the “Rough Riders,” at thirty-nine. At last, in Cuba, had come the consummating “crowded hour.” A rush, a roar, the sting of his own blood, a surge toward the sky, a smoking pistol in his hand, a soldier in light blue doubling up “neatly as a jackrabbit” … When the smoke cleared, he had found himself atop Kettle Hill on the Heights of San Juan, with a vanquished empire at his feet.

Springs and summers full of song and revolution. The Popular Front, demonstrations and confrontations, time that takes you away from yourself and your poetry, so that you could see them as if from cosmic space, a way of looking that changes everything into stars, our Earth, you and me, Estonia and Eritrea, blue anemones and the Pacific Ocean. Even the belief that you will write more poems. Something that was breathing into you, as May wind blows into a house bringing smells of mown grass and dogs' barks, - this something has dissipated, become invisible like stars in daylight. For quite a time I haven't permitted myself to hope it would come back. I know I am not free, I am nothing without this breathing, inspiration, wind that comes through the window. Let God be free, whether he exist or no. And then, it comes once again. At dusk in the countryside when I go to an outhouse, a little white moth flies out of the door. That's it, now. And the dusk around me begins little by little to breathe in words and syllables. * In the morning, I was presented to President Mitterrand, in the evening, I was weeding nettles from under the currant bushes. A lot happened inbetween, the ride from Tallinn to Tartu and to our country home through the spring that we had waited for so long, and that came, as always, unexpectedly, changing serious greyish Estonia at once into a primary school child's drawing in pale green, into a play-landscape where mayflies, mayors and cars are all somewhat tiny and ridiculous... In the evening I saw the full moon rising above the alder grove. Two bats circled over the courtyard. The President's hand was soft and warm. As were his eyes, where fatigue was, in a curious way, mingled with force, and depth with banality. He had bottomless night eyes with something mysterious in them like the paths of moles underground or the places where bats hibernate and sleep.

Because the number system is like human life. (emphasis added) First you have natural numbers. The ones that are whole and positive. The numbers of a small child. But human consciousness expands. The child discovers a sense of long, and do you know what the mathematical expression is for longing?’ He adds cream and several drops of orange juice to the soup. ‘The negative numbers. The formalization of the feeling that you are missing something. And human consciousness expands and grows even more, and the child discovers the in between spaces. Between stones, between pieces of moss on the stones, between people. And between numbers. And do you know what that leads to? It leads to fractions. Whole numbers plus fractions prouce rational numbers. And human consciousness doesn’t stop there. It wants to go beyond reason. It adds an operation as absurd as the extraction of roots. And produces irrational numbers.’ He warms French bread in the over and fills the pepper mill. ‘It’s a form of madness. Because the irrational numbers are infinite. They can’t be written down. They force human consciousness out beyond the limits. And by adding irrational numbers to rational numbers, you get real numbers.’ I’ve stepped into the middle of the room to have more space. It’s rare that you have a chance to explain yourself to a fellow human being. Usually you have to fight for the floor. And this is important to me. ‘It doesn’t stop. It never stops. Because now, on the spot, we expand the real numbers with imaginary square roots of negative numbers. These are numbers we can’t picture, numbers that normal human consciousness cannot comprehend. And when we add the imaginary numbers to the real numbers, we have the complex number system. The first number system in which it’s possible to explain satisfactorily the crystal formation of ice. It’s like a vast, open landscape. The horizons. You head toward them, and they keep receding. That is Greenland, and that’s what I can’t be without! That’s why I don’t want to be locked up

Modern electrical power distribution technology is largely the fruit of the labors of two men—Thomas Edison and Nikola Tesla. Compared with Edison, Tesla is relatively unknown, yet he invented the alternating electric current generation and distribution system that supplanted Edison's direct current technology and that is the system currently in use today. Tesla also had a vision of delivering electricity to the world that was revolutionary and unique. If his research had come to fruition, the technological landscape would be entirely different than it is today. Power lines and the insulated towers that carry them over thousands of country and city miles would not distract our view. Tesla believed that by using the electrical potential of the Earth, it would be possible to transmit electricity through the Earth and the atmosphere without using wires. With suitable receiving devices, the electricity could be used in remote parts of the planet. Along with the transmission of electricity, Tesla proposed a system of global communication, following an inspired realization that, to electricity, the Earth was nothing more than a small, round metal ball. [...] With $150,000 in financial support from J. Pierpont Morgan and other backers, Tesla built a radio transmission tower at Wardenclyffe, Long Island, that promised—along with other less widely popular benefits—to provide communication to people in the far corners of the world who needed no more than a handheld receiver to utilize it. In 1900, Italian scientist Guglielmo Marconi successfully transmitted the letter "S" from Cornwall, England, to Newfoundland and precluded Tesla's dream of commercial success for transatlantic communication. Because Marconi's equipment was less costly than Tesla's Wardenclyffe tower facility, J. P. Morgan withdrew his support. Moreover, Morgan was not impressed with Tesla's pleas for continuing the research on the wireless transmission of electrical power. Perhaps he and other investors withdrew their support because they were already reaping financial returns from those power systems both in place and under development. After all, it would not have been possible to put a meter on Tesla's technology—so any investor could not charge for the electricity!

I need only, to make them reappear, pronounce the names Balbec, Venice, Florence, within whose syllables had gradually accumulated the longing inspired in me by the places for which they stood. Even in spring, to come upon the name Balbec in a book sufficed to awaken in me the desire for storms at sea and for Norman Gothic; even on a stormy day the name Florence or Venice would awaken the desire for sunshine, for lilies, for the Palace of the Doges and for Santa Maria del Fiore. But if these names thus permanently absorbed the image I had formed of these towns, it was only by transforming that image, by subordinating its reappearance in me to their own special laws; and in consequence of this they made it more beautiful, but at the same time more different from anything that the towns of Normandy or Tuscany could in reality be, and, by increasing the arbitrary delights of my imagination, aggravated the disenchantment that was in store for me when I set out upon my travels. They magnified the idea that I had formed of certain places on the surface of the globe, making them more special and in consequence more real. I did not then represent to myself cities, landscapes, historical monuments, as more or less attractive pictures, cut out here and there of a substance that was common to them all, but looked on each of them as on an unknown thing, different in essence from all the rest, a thing for which my soul thirsted and which it would profit from knowing. How much more individual still was the character they assumed from being designated by names, names that were for themselves alone, proper names such as people have! Words present to us a little picture of things, clear and familiar, like the pictures hung on the walls of schoolrooms to give children an illustration of what is meant by a carpenter's bench, a bird, an anthill, things chosen as typical of everything else of the same sort. But names present to us— of persons, and of towns which they accustom us to regard as individual, as unique, like persons— a confused picture, which draws from them, from the brightness or darkness of their tone, the colour in which it is uniformly painted, like one of those posters, entirely blue or entirely red, in which, on account of the limitations imposed by the process used in their reproduction or by a whim on the designer's part, not only the sky and the sea are blue or red, but the ships and the church and the people in the streets.

The treasure of mankind landscape should not be tilled with greed but merely tilling his field with pure contentment with life.

His account of the approach to the monastery of the Grande Chartreuse high in the mountains of Savoy inspired generations of artists and students to head for the wild landscapes of the south: It is six miles to the top; the road runs winding up it, commonly not six feet broad; on one hand is the rock, with woods of pine trees hanging over head; on the other, a monstrous precipice, almost perpendicular, at the bottom of which rolls a torrent, that sometimes tumbling among the fragments of stone that have fallen from on high, and sometimes precipitating itself down vast descents with a noise like thunder, which is still made greater by the echo from the mountains on each side, concurs to form one of the most solemn, the most romantic, and the most astonishing scenes I ever beheld.17 This is a highly influential early usage of the word ‘romantic’ to describe mountain scenery. It is also a classic instance of what Edmund Burke classified as a ‘sublime’ as opposed to a ‘beautiful’ scene, the distinction being that the sublime creates a reaction of awe with an element of fear, in this case created by the raging torrent, the noise resembling thunder, the echo from the mountain walls. For Wordsworth and Jones, as for Gray and Walpole before them, the approach to the Grande Chartreuse was one of the most ‘astonishing’ scenes that they ever beheld. Astonishment – being struck dumb with awe – was the hallmark of the sublime.

Human beings naturally long for wonder, transcendence, mental landscapes beyond the boundaries of ordinary life. Something in the human spirit shouts loudly that there is more to ourselves than the space-time confines of the body. This obfuscated part of our psyche demands lucid recognition of what it knows to be the true breadth and depth of our existence.

As Cosmic Vibration, all things are one; but when Cosmic Vibration becomes frozen into matter, it becomes many--including man's body, which is a part of this variously divided matter.* (*footnote: Recent advances in what theoretical physicists call 'superstring theory' are leading science toward an understanding of the vibratory nature of creation. Brian Greene, Ph.D., professor of physics at Cornell and Columbia Universities, writes in The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory (New York: Vintage Books, 2000): 'During the last thirty years of his life, Albert Einstein sought relentlessly for a so-called unified field theory--a theory capable of describing nature's forces within a single, all-encompassing, coherent framework...Now, at the dawn of the new millennium, proponents of string theory claim that the threads of this elusive unified tapestry finally have been revealed...' 'The theory suggests that the microscopic landscape is suffused with tiny strings whose vibrational patterns orchestrate the evolution of the universe,' Professor Greene writes, and tells us that 'the length of a typical string loop is...about a hundred billion billion (1020) times smaller than an atomic nucleus.')

If you never get off-trail you never discover new landscapes.

If you never get off-trail you never discover new landscapes

I think I'm beginning to understand that the quest is the point. Our sense of enchantment is not triggered only by grand things; the sublime is not hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it. It becomes meaningful when we invest it with meaning. The magic is of our own conjuring. Hierophany - that revelation of the sacred - is something that we bring to everyday things, rather than something that is given to us. That quality of experience that reveals to us the workings of the world, that comforts and fascinates us, that ushers us towards a greater understanding of the business of being human: it is not in itself rare. What is rare is our will to pursue it. If we wait passively to become enchanted, we could wait a long time. But seeking is a kind of work. I don't mean heading off on wild road trips just to see the stars that are shining above your own roof. I mean committing to a lifetime of engagement: to noticing the world around you, to actively looking for small distillations of beauty, to making time to contemplate and reflect. To learning the names of the plants and places that surround you, or training your mind in the rich pathways of the metaphorical. To finding a way to express your interconnectedness with the rest of humanity.

The failure craze—the “fail fast, fail often” culture that wants us to embrace failure seemingly indiscriminately—takes inspiration from the intelligent failures inherent to innovation but risks glossing over the vast and varied failure landscape, which also includes basic and complex failure.

Compassion is the gentle rain that nurtures the parched landscapes of human suffering, allowing the flowers of kindness to bloom in even the harshest of conditions.

Faith and mythology, in their profoundest sense, are the twin pillars that uphold the vast cathedral of human consciousness. They are the intertwined roots that nourish our understanding of existence, grounding us in the fertile soil of the unknown. Faith, is the audacious whisper in the heart of man, defying the chasm of uncertainty with its unwavering resonance. It is the audacity to trust in the unseen, to hear the unspoken, and to pursue the uncharted. It is the flame that illuminates the caverns of our deepest fears, casting shadows on our doubts, and lighting the path to our truest selves. Meanwhile, mythology is the grand tapestry we weave to contain the boundless cosmos within the finite landscapes of our minds. It is the narrative thread that stitches together the fabric of our collective consciousness, painting vibrant portraits of gods and monsters, of heroes and villains, of creation and destruction. Mythology gives form to faith, translating the abstract into the tangible, the divine into the comprehensible, the eternal into the temporal. It is the language of symbols, narrating the timeless tales of the human spirit dancing with the cosmos' infinite possibilities. Yet, both faith and mythology are but reflections in the mirror of existence, shimmering illusions that hint at a reality far beyond our comprehension. They are the echoes of the universe whispering its secrets to those daring enough to listen, the gentle lullabies that soothe our existential anxieties, the sweet honey that makes the bitter pill of the unknown more palatable. They are not the ultimate answers to life's mysteries, but the beautiful questions that keep us seeking, exploring, and wondering. They are the compass and the map, guiding us on our endless quest for truth, reminding us that the journey, not the destination, is the essence of existence.

In the grand tapestry of existence, we are faced with a profound choice: to believe in God or reduce ourselves to mere dust. Yet, in this choice lies the very essence of our potential and purpose. God, the eternal enigma, represents the boundless mysteries that surround us, the cosmic symphony of order and chaos. To believe in God is to embrace the unfathomable depths of our existence, to recognize the awe-inspiring beauty in every breath, and to find solace in the face of adversity. It is to acknowledge that we are part of something greater, intricately connected to the divine fabric of creation. On the other hand, to resign ourselves to dust is to surrender our capacity for wonder and curiosity. It is to reduce the majesty of life to a mere collection of atoms, devoid of meaning or significance. In the realm of dust, there is no purpose, no guiding light to illuminate our path, only the relentless march of time eroding all that we hold dear. But let us not forget that the choice between God and dust is not a binary one. It is a spectrum that spans the vast landscape of human belief and understanding. Some find solace in the embrace of a divine being, while others seek meaning in the interconnectedness of all things. And there are those who find their own truth, crafting a personal philosophy that resonates with their soul. Ultimately, whether we believe in God or embrace our dusty origins, let us remember that it is our capacity for reflection, compassion, and growth that defines us as sentient beings. It is through the pursuit of wisdom and the cultivation of love that we find the true essence of our existence, transcending the limitations of belief or disbelief. So, let us choose wisely, for in the contemplation of God or dust, we shape not only our own destiny but also the destiny of humanity itself. May we find the courage to explore the depths of our beliefs and the humility to appreciate the vastness of the unknown. And in doing so, may we discover the profound beauty that lies within the delicate balance between faith and reason.

Life’s trials What does he live for? There are many reasons, Numberless beliefs, many impulses, that he could die for, His life’s mottos his life’s reasons, That he lives for and would easily die for, For he believes in them all, They bring him joy he always longed for, So, he strives not for himself but for these reasons all, Every night and every day, he toils through the life’s way, On barren patches where you need strong reasons to keep walking, Because sometimes when days are darker than the darkest nights, one may forget his way, Until he has a good reason to carry on anyway and believe in the day and in his walking, He often comes across moments with no richness of feelings, And in this feelingless landscape of life, he questions life’s harshness, And as he is overcome by life’s trials and their cussed feelings, He summons these reasons to deal with life and its harshness, He is a great inverter I suppose, Because he always invents a new reason to live, Everyday he is in this state of relentless strife, and about it I no more suppose, Because he has proven it, otherwise how could someone with a life that feels lifeless, so well live, He struggles, he falls, he waivers, he faces life’s repudiations, But he carries on, for he has a reason to believe in and someone’s love to live for, So, the villains of time and fate may have connived against him, along with life’s repudiations, But none of them matter, because he has a reason to live for and someone’s love to die for, How far will life go in his case and be villainous, Only life knows, and fate maybe, But his reasons of life and love of someone, enable him to deal with life’s moments villainous, He will live forever maybe, because when he dies life will be left all alone, without any reasons; maybe, And as long as he has reasons new everyday, To live and deal with whatever comes his way, Life shall envy him although it tries him in new ways everyday, But he toils everyday in his own unique way, This is what life seeks to know; how? Maybe he is built differently by providence that gifted him endless reasons to live, But the life is keen to know how, And the answer is simple: Through her memories and her love, he finds the fountain of reasons to deal with life and to live!

Find What Inspires You Inspiration does not always come to us in a flash. We often have to go in search of it, especially when we feel stuck. Finding inspiration means discovering the things that make you excited—even when they have nothing to do with your art practice. If you go on a trip, you might find inspiration in architecture, landscapes, or traditional patterns found in old cultures. Whatever speaks to you, infuse these visual stimuli from your life into your work. To work through anxieties or find out what ignites your interest, it helps to carry a journal to do daily entries. Maintaining a journal with both written and visual thoughts is a long-standing tradition among artists that helps you ignite creativity and work through blocks. There is no right or wrong way to keep a journal. You can use a book with lined or unlined pages; it can be a written diary with stream-of-consciousness thoughts or a purely visual notebook with pages of drawings. One thing that is helpful, though, is to choose a journal size that is portable, so that you can carry it around with you. Make a habit of writing or drawing in your journal every day. Some days you’ll have only a quick five minutes and other days a whole hour to devote to it. Don’t worry about whether your writing makes sense or your ideas or drawings are any good. Eventually a pattern will emerge that will help unlock your mission as an artist and even identify new avenues for exploration.

The beaches of southern California were the inspiration for "Zetty," but it was in the landscapes of the Pacific Northwest that I found inspiration for "A River for Gemma.

In the dawn of now know that a tear-stained landscape holds the grace of a new season

Fraudulent unions, like weeds among the wheat, choke the life from genuine love, suffocating trust and devouring hope. These counterfeit marriages masquerade as truth, yet their hollow hearts betray the sacred vows, leaving behind a barren landscape of shattered dreams and broken promises.

As individuals delve into the shamanic art of teleportation, they unlock the profound potential to navigate the interconnected web of existence with the fluidity of spirit. The constraints that confine the physical body dissolve, and practitioners find themselves traversing landscapes with a freedom unbound by earthly limitations. The journey becomes an exploration of the boundless nature of consciousness, where the spirit moves effortlessly through the tapestry of reality.

Let Let us go somewhere far, Let us be there where there is no war, Let us seek what peace seeks from all, Let us be there, if we try, there we can be afterall, Let us give life a chance, Let us allow innocent hearts to feel their moments of romance, Let us be there where you can be you and I can be who I am, Let us not worry about who he/she is, but only focus on who we are and who I am, Let us go there where seasons end and reappear in their cyclic recurrences, Let us collect their beautiful impressions, their essences and their fragrances, Let us follow no guiding star, but just our inner guidance, Let us only follow our heart’s native radiance, Let us believe in ourselves with firmness, Let us believe that before seeking anything outside us we should seek it within us, that true feeling of happiness, Let us harvest feelings true under this sky blue, Let you be you, let me be who I am, but always be true, Let us fill all emotional voids with moments of genuine adulations, Let us indulge in these acts and end all our tribulations, Let us wait for nothing, because time waits for nobody, Let us try, and I am sure we shall succeed if we truly love somebody, Let us let the sun set, because only then the moon will rise, Let us for someone’s sake stand and witness our own rise, Let us not flee when we should be participating in life’s dealings, Let us believe and we shall witness divine joys and healings, Let us give before we can take, Let us take only what we can recreate or make, Let us not fear repudiation of any sort, Let us know we shall always be the masters of the thing called “the last resort!” Let us not believe in aspersions because they might hurt someone, Let us before dying, love that special someone, Let us only deal with evinced hearts, for they know how heart breaks feel, Let us, before we deal with others, with our own hearts’ deal, Let me find this place for you and me, Let me lead you there, and let us forever then there be, Let me love you in the lap of time in that region, Let your feelings and you, then be my heart’s only succession, Let us then watch the setting sun and the rising moon, Let me then disappear in the horizon of your beauty before the sunset and before the rising moon, Let it be so then forever, Let love and time seek us then Irma, in this landscape called “your and my everywhere!

Outlandish feelings Outlandish worlds exist within us all, Because there are stars that rise and then they fall, Stars that belonged to a different world and now here in an alien world they are, Alienated from their native skies to be cast into worlds astoundingly too far, And in this outlandishness of rising feelings and many a belief, The mind with the heart seeks familiar trails of relief, But both lie mired in their unwillingness to accept forced retirement, Because loving her thoughts, believing in her brings wavers of excitement, That condition the mind to seek the heart that felt and knew her so well, In this outlandish emotional landscape where fate launches its ominous spell, To never let the mind find the heart that easily fell for her charms, Trapping the mind in new emotional storms, Where life is turned into this falling star, That gets thrown into a world of alien sentiments and a new emotional spar, Between the mind that seeks those known feelings and the heart that knew her so well, And deals with the hostile world of emotions where nothing feels like her and nothing bears her smell, And it is in these outlandish territories of life that few of us seek a domicile existence, Even if that means indulging in pretense and experience a few artificial moments of romance, Whatever the case maybe, the romantic mind always seeks the romantic heart, In these unknown landscapes where the fakeness of the alien feelings every sense does so easily outsmart, Until the mind learns to calm itself with the hope that fallen stars rise and shine again, And it forms a covenant of survival with the diabolic and ruthlessly crude spells of pain. And then life continues to wander in all directions seeking the heart that knew her, Until one day it resembles the life that hangs on the devil’s spur! But the aging mind is still rigid and unwilling to believe in the deceptive landscapes of this outlandish territory, Because it remembers all the heart beats of love and still believes in their fraternity, Finally one day the mind rises once again above the feelings of alienation, Because few minds believe in endlessly seeking her sequestered feelings of love with a God like determination!

Constantly shifting uncertain landscape are the goalposts for inspiring leaders but not all the leaders survive in the battle

James Aka, a Mississauga resident, adores the city's architecture, from the sleek lines of its modern buildings to the historical charm of its landmarks. Passionate about urban design, James explores Mississauga's diverse architectural landscape with enthusiasm, finding beauty and inspiration in every structure. As an avid photographer, he captures the city's skyline from different angles, showcasing its dynamic evolution. James actively engages in discussions about urban planning and preservation, advocating for sustainable development while honoring the city's heritage. With a deep appreciation for the unique character of Mississauga's built environment, James celebrates its architectural diversity and contributes to shaping its future with his keen eye and passionate advocacy.

Akathisia's stygian abyss, where immeasurable restlessness tears the matrix of the psyche apart, is where beauty, love, and resilience find their most resolute expression. Even though Akathisia makes the body a puppet to an unseen puppeteer and the soul a vessel adrift in turbulent seas, human strength is the ability to find grace amidst chaos, cultivate love in desolate landscapes, and summon resilience in the face of despair and deterioration. Thus, amid mental and physical anguish, humanity's indomitable spirit transforms suffering into a crucible that yields a transcendent understanding of beauty, love, and the will to overcome. We become wise, compassionate, and resilient through suffering in this crucible.

Preamble The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before. The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever. The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting. But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers. Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.

As a writer, I think it is my duty to be as responsible as I can with (my)perspective, insights, experiences, & values. Being raised in a black & white- "good & bad" societal mentality has frustrated me. My common mentors (societal, religious, govt., authoritative', etc.) presented a skewed ‘role-model’ to me; colouring the world/‘s of myself, and other people, with their own personal expectations of how society should be. It’s not really trusting people to grow into who they are as a person. Going back to my original verve for writing has meant working (tirelessly) to (try to) remove habitual things; finite statements, assumptions, misinformation, misunderstanding, as well as cyclical (fear-based) conditioning. I want to be responsible. And this has meant that I had to work hard to shake loose from the past. Sometimes it meant screaming "How dare you teach me fear & ignorance!" into my pillow- as I work at ripping the (imposed) bars away from my craft. I am still working at it, and, as hard as it has been- it’s been worth it. I value the integrity of writing (as a creative craft) so very much. I always admired those writers who stood out from the traditional. The writers who challenged the conventional. Those [writers] who dared to present a balanced perspective- no matter how uncommon... To me, they were the best teachers. They inspired unchained learning, wisdom, and developmental skills... Those things which I see as gifting readers with bountiful landscapes into their [readers] own souls. This is what it means, for me, to be a writer. That does not mean it is what it has to mean for others. Each of us get our own unique voices, styles, expressions, dreams, and creativity. I also want to be understood- clearly, truly, and genuinely- as a human, and as a writer. And I want to foster my imagination, creativity, and passion; building a world that I love- knowing that other people may also enjoy it, and some may not.

Thunderbird ascended on the heady currents of air that bore her high above the vast landscape of Túwaqachi. She stretched her broad wings, the heat lifting her through the silence, her glossy brown feathers shimmering in the sunlight.

Poetry has a mysterious way of illustrating the landscapes of life. One can't help but love its audacity to record the journey.

Hipsters are fine with coffee but eye boutiques and banks with suspicion, yuppies are fine with the boutiques and banks but see landscapes radically altered by development as cultural losses, and developers such as Pres Kabacoff are fine with those landscapes as long as they don’t inspire protest.

Here is why the wellbeing economy comes at the right time. At the international level there have been some openings, which can be exploited to turn the wellbeing economy into a political roadmap. The first was the ratification of the Sustainable Development Goals (SDGs) in 2015. The SDGs are a loose list of 17 goals, ranging from good health and personal wellbeing to sustainable cities and communities as well as responsible production and consumption. They are a bit scattered and inconsistent, like most outcomes of international negotiations, but they at least open up space for policy reforms. For the first time in more than a century, the international community has accepted that the simple pursuit of growth presents serious problems. Even when it comes at high speed, its quality is often debatable, producing social inequalities, lack of decent work, environmental destruction, climate change and conflict. Through the SDGs, the UN is calling for a different approach to progress and prosperity. This was made clear in a 2012 speech by Secretary General Ban Ki-moon, who explicitly connected the three pillars of sustainable development: ‘Social, economic and environmental wellbeing are indivisible.’82 Unlike in the previous century, we now have a host of instruments and indicators that can help politicians devise different policies and monitor results and impacts throughout society. Even in South Africa, a country still plagued by centuries of oppression, colonialism, extractive economic systems and rampant inequality, the debate is shifting. The country’s new National Development Plan has been widely criticised because of the neoliberal character of the main chapters on economic development. Like the SDGs, it was the outcome of negotiations and bargaining, which resulted in inconsistencies and vagueness. Yet, its opening ‘vision statement’ is inspired by a radical approach to transformation. What should South Africa look like in 2030? The language is uplifting: We feel loved, respected and cared for at home, in community and the public institutions we have created. We feel understood. We feel needed. We feel trustful … We learn together. We talk to each other. We share our work … I have a space that I can call my own. This space I share. This space I cherish with others. I maintain it with others. I am not self-sufficient alone. We are self-sufficient in community … We are studious. We are gardeners. We feel a call to serve. We make things. Out of our homes we create objects of value … We are connected by the sounds we hear, the sights we see, the scents we smell, the objects we touch, the food we eat, the liquids we drink, the thoughts we think, the emotions we feel, the dreams we imagine. We are a web of relationships, fashioned in a web of histories, the stories of our lives inescapably shaped by stories of others … The welfare of each of us is the welfare of all … Our land is our home. We sweep and keep clean our yard. We travel through it. We enjoy its varied climate, landscape, and vegetation … We live and work in it, on it with care, preserving it for future generations. We discover it all the time. As it gives life to us, we honour the life in it.83 I could have not found better words to describe the wellbeing economy: caring, sharing, compassion, love for place, human relationships and a profound appreciation of what nature does for us every day. This statement gives us an idea of sufficiency that is not about individualism, but integration; an approach to prosperity that is founded on collaboration rather than competition. Nowhere does the text mention growth. There’s no reference to scale; no pompous images of imposing infrastructure, bridges, stadiums, skyscrapers and multi-lane highways. We make the things we need. We, as people, become producers of our own destiny. The future is not about wealth accumulation, massive

My friend Jonathan Martin, who is a third-generation Pentecostal preacher, described the election of Donald Trump as an apocalyptic event—not in the sense that it brought on the end of the world, but in the sense that it uncovered, or revealed, divides and contours in the American social landscape many of us did not want to face, deep rifts regarding race, religion, nationalism, gender, and fear.

Once you go plant, you never go back.

Picture her then: Daphne Manners, a big girl (to borrow a none too definite image from Lady Chatterjee) leaning on the balcony outside her bedroom window, gazing with concentration (as one might gaze for two people, one being absent, once deprived, since dead, and now regretted) at a landscape calculated to inspire in the most sympathetic western heart a degree of cultural shock. There is (even from this vantage point above a garden whose blooms will pleasurably convey scent if you bend close enough to them) a pervading redolence, wafting in from the silent, heat-stricken trembling plains; from the vast panorama of fields, from the river, from the complex of human dwellings (with here and there, spiky or bulbous, a church, a mosque, a temple), from the streets and lanes and the sequestered white bungalows, the private houses, the public buildings, the station, from the rear quarters of the MacGregor House.

Although Jung’s distaste for modern art would preclude it, he would have been relieved to know that his wasn’t the only sensitive consciousness at the time plagued with visions of destruction. In 1912 the German Expressionist painter Ludwig Meidner produced a series of “Apocalyptic Landscapes.” Meidner depicted cities laid to waste: comets rocket through the sky, the sun blackens, men run screaming through the streets, buildings collapse. Meidner painted his landscapes in a manic rush of inspiration, and his later work lacks this intensity: one is tempted to say that rather than Meidner having a flash of genius, some flash of genius briefly had him, the same one, perhaps, that invaded Jung’s own mind. Had Jung known of Meidner’s work, he would have surely seen it as confirmation of his belief that some individuals are mediums through whom future events are foreshadowed.

THE NEXT DAY WAS RAIN-SOAKED and smelled of thick sweet caramel, warm coconut and ginger. A nearby bakery fanned its daily offerings. A lapis lazuli sky was blanketed by gunmetal gray clouds as it wept crocodile tears across the parched Los Angeles landscape. When Ivy was a child and she overheard adults talking about their break-ups, in her young feeble-formed mind, she imagined it in the most literal of essences. She once heard her mother speaking of her break up with an emotionally unavailable man. She said they broke up on 69th Street. Ivy visualized her mother and that man breaking into countless fragments, like a spilled box of jigsaw pieces. And she imagined them shattered in broken shards, being blown down the pavement of 69th Street. For some reason, on the drive home from Marcel’s apartment that next morning, all Ivy could think about was her mother and that faceless man in broken pieces, perhaps some aspects of them still stuck in cracks and crevices of the sidewalk, mistaken as grit. She couldn’t get the image of Marcel having his seizure out of her mind. It left a burning sensation in the center of her chest. An incessant flame torched her lungs, chest, and even the back door of her tongue. Witnessing someone you cared about experiencing a seizure was one of those things that scribed itself indelibly on the canvas of your mind. It was gut-wrenching. Graphic and out-of-body, it was the stuff that post traumatic stress syndrome was made of.

On every travel, we saw beautiful landscapes.

But Longinus and his intellectual descendants had been concerned with the Sublime as a literary effect: how language, not landscape, could be lofty, grand or inspiring.

At the beginning of any new idea, the possibilities can seem infinite, and that wide-open landscape of opportunity can become a prison of anxiety and self-doubt. This is a key reason why failing fast with low-risk prototypes the way Chris Rock does is so helpful: If we haven’t invested much in developing an idea, emotionally or in terms of time or resources, then we are more likely to be able to focus on what we can learn from that effort than on what we’ve lost in making it. Prototyping is one of the most effective ways to both jump-start our thinking and to guide, inspire, and discipline an experimental approach.

For Hadrian, important journeys were made as the principal representative of Rome and Rome’s power. They ensured a permanent place for himself within the landscape of the empire and within history. But from the incessant nature of his travelling it can be assumed that his was probably also a personal search for an exemplary, inspiring past, a hope of revelation and a prospect of transformation. He collected things, particularly beautiful things; but he was also an almost compulsive collector of ideas and experiences. Any journey is a set within the greater journey from birth to the grave, and Hadrian was not the first to use travel as an illusion of evaded mortality.

In the hot summer noontide the patriarch was sitting in his tent door, looking out over the quiet landscape, when he saw in the distance three travelers approaching. Before reaching his tent, the strangers halted, as if consulting as to their course. Without waiting for them to solicit favors, Abraham rose quickly, and as they were apparently turning in another direction, he hastened after them, and with the utmost courtesy urged them to honor him by tarrying for refreshment. With his own hands he brought water that they might wash the dust of travel from their feet. He himself selected their food, and while they were at rest under the cooling shade, an entertainment was made ready, and he stood respectfully beside them while they partook of his hospitality. This act of courtesy God regarded of sufficient importance to record in his word; and a thousand years later it was referred to by an inspired apostle: “Be not forgetful to entertain strangers: for thereby some have entertained

Our thoughts are great place of voyage.

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

DAD (Decide-Announce-Defend) remains the order of the day, with only a few inspiring models of EDD (Engage-Deliberate-Decide) available to us to demonstrate how very different things could be.

When I’m at my best, my writing identity comes from a deep and quiet place where the noise of approval and disapproval is a neutral background landscape more than a declaration of who I am. Conversely, the times I feel the worst about being a writer are when I’m looking for likes, fishing for approval, or otherwise in search of evidence that I’m somebody, because I’ve momentarily forgotten I already am.

I wanted to understand why. What was causing smart people to make decisions that sent their companies off the rails? I didn’t doubt that they believed they were doing the right thing, but something was blinding them—and keeping them from seeing the problems that threatened to upend them. As a result, their companies expanded like bubbles, then burst. What interested me was not that companies rose and fell or that the landscape continually shifted as technology changed but that the leaders of these companies seemed so focused on the competition that they never developed any deep introspection about other destructive forces

A vagabondess has earth and salt to balance her air. Her lifestyle is not a romantic, Instagram-filter utopia, but rather gritty and smeared with sweat. A vagabondess is not a symbol of an ideal of a life. She is alive. A vagabondess weaves magic into the everyday and touches the profound with her toes as she wanders—aimlessly, purposefully—through her inner landscape and the outer wilderness of the modern world. She unites nostalgia for a freer past and hope for a liberated future by living squarely in the present tense. For solo female travelers, the vagabondess is an attainable objective, not a holy grail. She is within easy reach, if only we look in the right place: inside.

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

I enjoy my Picassos,” he says with a glint in his eye, “and, unlike some, I have never had to sell to pay the fines.” I ask about his recreational interests and for once he looks uncertain. His eyes scan the room for inspiration, or perhaps help from his PR adviser. His gaze eventually rests on a landscape painting. “I shoot sheep,” he declares darkly. With that he stands up, baring his teeth in a maniacal grin. “I really have taken up far too much of your time.” He leaves before the bill arrives. When it comes, like many former clients, I am left grappling with the awful financial consequences of my encounter with the Greedspin banker.

Fear is oftentimes borne of ignorance and misconception. It lays waste to the landscape of the soul.

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.)

The physical landscape of Ireland was unquestionably one of the influences that shaped Lewis’s fertile imagination. Yet there is another source which did much to inspire his youthful outlook—literature itself. One of Lewis’s most persistent memories of his youth is that of a home packed with books.

Joining IAS Gurukul is not just a step towards a career; it's an immersion into a community of like-minded individuals who share the same vision – a vision of serving the nation with integrity and dedication. Here, we go beyond syllabi, delving into real-world challenges through case studies, discussions, and experiential learning. Our goal is to create not just successful IAS officers, but leaders who can inspire and drive meaningful change in the dynamic landscape of public administration.

I think I’m beginning to understand that the quest is the point. Our sense of enchantment is not triggered only by grand things; the sublime is not hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it. It becomes meaningful when we invest it with meaning. The magic is of our own conjuring. Hierophany—that revelation of the sacred—is something that we bring to everyday things, rather than something that is given to us. That quality of experience that reveals to us the workings of the world, that comforts and fascinates us, that ushers us towards a greater understanding of the business of being human: it is not in itself rare. What is rare is our will to pursue it. If we wait passively to become enchanted, we could wait a long time.

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

the revelations about this actual (sort of) Lemuria are a reminder of how much wonder there is left in the natural world, how much we’re still discovering about our planet, and how much mystery remains in the actual landscape and soil. For many of us, this is enough: the wonders of the natural world fascinate and inspire in a myriad of ways. Many more, though, will look and turn away disappointed, finding no proof of utopia or God in fragments of zircon. The main and central difference hinges on the question of what you expect out of the natural world: do you see it as a wondrous and strange thing unto itself, or do you expect it to reveal humanity back to itself? The problem with geologic samples is that the place revealed by them has no direct symbolic value. The crime of mainstream science, for too many, is the revelation that the world owes us nothing. The need for imagined marginal worlds populated with monsters and enlightened humans is a deep-seated one that’s going to persist, but it’s at odds with the world of strange wonder that’s all around us. Like Atlantis, the geologic underpinnings of Lemuria have always been beside the point. Lemuria is a perpetual edgeworld—a place to exist in the mind and on the map but never to be glimpsed or realized. It’s a vast unknown onto which you can project your own theories, biases, beliefs, anxieties, and hopes—all without fear that you’ll ever have to provide evidence one way or another. Lemuria, if it exists at all, exists now in my pocket, in a small triangle of wood polished with belief.

It had always interested her, that physically gazing out at a landscape, even if that landscape offered a cluster of town buildings, could provide a broader view of the possibilities inspired by a question. She did the same thing herself, when something troubled her.

One of the first things that became clear during this exploration is that our culture’s relationship with these tools is complicated by the fact that they mix harm with benefits. Smartphones, ubiquitous wireless internet, digital platforms that connect billions of people—these are triumphant innovations! Few serious commentators think we’d be better off retreating to an earlier technological age. But at the same time, people are tired of feeling like they’ve become a slave to their devices. This reality creates a jumbled emotional landscape where you can simultaneously cherish your ability to discover inspiring photos on Instagram while fretting about this app’s ability to invade the evening hours you used to spend talking with friends or reading.

We’ve built a dynamic team of DIY enthusiasts, interior designers, and industry professionals to create a go-to digital resource for all things home, house & design. Whether you are looking for inspiration or simple tips and tricks, our content can help lead (as well as construct, design, and landscape) the way! We know that your home is your most valuable asset which is why we provide our readers with the latest news, trends and advice to help them with anything house related.

The landscape that we see in front of us usually is a reflection of the world that is hidden in our souls, but sometimes we give meaning to it and get hung up so often that everything loses any meaning and depreciates...

Another sort of landscape poetry is to be found in Wordsworth, for whom the title of poet of nature might perhaps be claimed. To him the landscape is an influence. What he renders, beyond such pictorial touches as language is capable of, is the moral inspiration which the scene brings to him. This moral inspiration is not drawn at all from the real processes of nature which every landscape manifests in some aspect and for one moment. Such would have been the method of Lucretius; he would have passed imaginatively from the landscape to the sources of the landscape; he would have disclosed the poetry of matter, not of spirit. Wordsworth, on the contrary, dwells on adventitious human matters. He is no poet of genesis, evolution, and natural force in its myriad manifestations. Only a part of the cosmic process engages his interest, or touches his soul—the strengthening or chastening of human purposes by the influences of landscape. These influences are very real; for as food or wine keeps the animal heart beating, or quickens it, so large spaces of calm sky, or mountains, or dells, or solitary stretches of water, expand the breast, disperse the obsessions that cramp a man’s daily existence, and even if he be less contemplative and less virtuous than Wordsworth, make him, for the moment, a friend to all things, and a friend to himself. Yet these influences are vague and for the most part fleeting. Wordsworth would hardly have felt them so distinctly and so constantly had he not found a further link to bind landscape to moral sentiment. Such a link exists. The landscape is the scene of human life. Every spot, every season, is associated with the sort of existence which falls to men in that environment. Landscape for Wordsworth’s age and in his country was seldom without figures. At least, some visible trace of man guided the poet and set the key for his moral meditation. Country life was no less dear to Wordsworth than landscape was; it fitted into every picture; and while the march of things, as Lucretius conceived it, was not present to Wordsworth’s imagination, the revolutions of society—the French Revolution, for instance—were constantly in his thoughts. In so far as he was a poet of human life, Wordsworth was truly a poet of nature. In so far, however, as he was a poet of landscape, he was still fundamentally a poet of human life, or merely of his personal experience. When he talked of nature he was generally moralizing, and altogether subject to the pathetic fallacy; but when he talked of man, or of himself, he was unfolding a part of nature, the upright human heart, and studying it in its truth.

To walk a soulful path is to step into the hidden, luminous undercurrents of life, where the ordinary transforms into the extraordinary and the mundane into the sacred. It is a journey of attunement, where the soul finds its true rhythm, moving in harmony with the pulse of the earth, the dance of the seasons, and the silent conversations of the stars. In this journey, there is no rush, no need to arrive anywhere, for the path itself is the destination—a living, breathing landscape where each step is a prayer, each moment a revelation.

As a researcher deeply immersed in the field of human interaction, universal laws, and the profound impacts of education on societal behaviors, I posit that ghosting transcends mere social rudeness; it might be a manifestation of our internal psychological landscapes. Ghosting could reflect our deepest fears of abandonment, our struggles with self-worth, or even a subconscious desire for an undefined existence in relationships. My exploration into this phenomenon suggests that education in emotional intelligence and self-awareness could serve as a beacon, not only illuminating the path to heal from ghosting but also to prevent it. By understanding that our external experiences might mirror our internal states, we can foster a society where empathy and presence are not just valued but are the norm. This isn't just about changing individual behaviors; it's about transforming our collective social fabric through knowledge and empathy.

Welcome to Travelyas, your go-to destination for unforgettable travel inspiration and experiences! As passionate explorers, we share insider tips, detailed guides, and hidden gems from across the globe. From bustling cities to serene landscapes, our goal is to ignite your wanderlust and help you travel smarter. Whether you're planning your first adventure or your next big escape, Travelyas is here to guide the way. Recognized as one of the best travel blogs in the USA, we blend storytelling with practical advice to make every journey extraordinary. Join us as we explore the world—one adventure at a time!

Yunus Dogan's leadership extends beyond business success. His ability to foster strong relationships with global stakeholders and his commitment to innovation have set new benchmarks in multiple industries. His journey serves as an inspiration for entrepreneurs and business leaders looking to make a lasting impact on the world. As Atlas Group continues to expand its footprint and break new ground, one thing remains clear—under Yunus Dogan’s stewardship, the company is poised to remain a dominant force in the global business landscape for years to come.

Your life is your work of art, it's an expression of your uniqueness. Sensuality enables artists to explore the depths of human experience, translating their internal landscapes into creative expressions that resonate with others. Each form of art captures the essence of emotion in unique ways, inviting audiences to engage with the artist's vision. In painting, colors and textures evoke feelings that can range from joy to despair. The choice of hues can create warmth or coldness, while the brushstrokes convey movement and energy, allowing viewers to feel the artist's heartbeat on the canvas. Each artwork becomes a window into the artist’s soul, reflecting their innermost thoughts and feelings. Music, too, is a deeply emotional medium. A melody can evoke nostalgia, while a rhythm can ignite a sense of urgency or joy. The interplay of notes and silence creates a dynamic landscape where emotions can flow freely. Lyrics can tell stories of love, loss, and hope, forging a connection that often feels personal and intimate. Writing gives voice to the complexities of emotion. Through prose and poetry, writers can articulate thoughts and feelings that may be difficult to express otherwise. Each word is carefully chosen to resonate with the reader, drawing them into a world where they can empathize with the characters and situations presented. The written word has the power to heal, inspire, and provoke thought, making it a vital form of artistic expression. Photography captures fleeting moments, freezing them in time while conveying emotions that may otherwise be lost. A single image can tell a powerful story, eliciting joy, sadness, or contemplation. The photographer's perspective shapes how we see the world, inviting us to experience beauty, vulnerability, and the raw essence of life through their lens. Dance is perhaps the most physical manifestation of sensuality in art. It encompasses a language of movement that transcends spoken words, allowing dancers to express emotions through their bodies. Each movement tells a story, whether it’s a graceful ballet or an energetic street dance, and the connection between performers and audience can be electric, creating an atmosphere of shared emotion and energy. In all these forms, the artist's sensuality serves as a conduit for emotional exploration and expression. It is through their vulnerability and authenticity that they invite others to feel, reflect, and connect, reminding us of the richness of the human experience. Art becomes a celebration of life, an exploration of emotions that binds us together in our shared humanity. Being an artist is immersing oneself completely in the experience of life...

RECLAIM STOLEN CRYPTO REVIEWS. HIRE DIGITAL TECH GUARD RECOVERY Cryptocurrency has emerged as a transformative force in the financial world, attracting both investors and opportunistic scammers. I met a fraudulent website, coexus pro, exemplifies the darker side of this digital currency landscape. The site claimed to offer daily returns through an "arbitrage trading crypto bot" and misleadingly adopted the branding of a reputable cryptocurrency exchange, which initially instilled a sense of trust. Eager to take advantage of the promised 1% daily return, I deposited a significant amount of money. For the first few days, everything appeared to be going smoothly; I received the expected returns and was able to withdraw funds without any complications. This initial success made me increasingly confident in the platform, leading me to believe that I had made a wise investment. My optimism quickly turned to dismay when I attempted to make another withdrawal. I was informed that my account balance had fallen below their liquidity requirement, and to resolve this issue, I needed to deposit additional funds. Trusting their claims, I complied, thinking it was a minor hurdle. Unfortunately, when I tried to withdraw again, I was met with the excuse of "blockchain congestion," which they claimed would delay my withdrawal for 24 days. As days turned into weeks, I grew increasingly anxious. After 50 days of waiting, I reached out to their support team once more, only to be confronted with yet another demand. They claimed I needed to pay 15% of my account balance for "technical support" from the "Federal Reserve’s blockchain regulator. "It was at this moment that the reality of the situation hit me hard: I had fallen victim to a sophisticated scam. The website eventually went inactive, and I discovered that the scammers had simply transitioned to a new site, maintaining a nearly identical layout to continue their deceitful operations. In my search for answers, I turned to social media and found a review from another victim who had experienced a similar ordeal. This individual shared how Digital Tech Guard Recovery had successfully assisted him in recovering his lost funds. Inspired by his story, I immediately reached out to Digital Tech Guard Recovery for help. WhatsApp: +1 (443) 859 - 2886

As long as we dare dream, we can occupy new land.

when Atlantic Monthly published one of Thoreau’s essays, called “Walking.” At present, in this vicinity, the best part of the land is not private property; the landscape is not owned, and the walker enjoys comparative freedom. But possibly the day will come when it will be partitioned off into so-called pleasure-grounds, in which a few will take a narrow and exclusive pleasure only, when fences shall be multiplied, and mantraps and other engines invented to confine men to the public road, and walking over the surface of God’s earth shall be construed to mean trespassing on some gentleman’s grounds. To enjoy a thing exclusively is commonly to exclude yourself from the true enjoyment of it. Let us improve our opportunities, then, before the evil days are upon us. Anthropologists estimate that early man walked twenty miles a day. Mental and physical benefits have been attributed to walking as far back as ancient times. The Roman writer Pliny the Elder (23–79 AD) described walking as one of the “Medicines of the Will.” Hippocrates, the Greek physician, called walking “man’s best medicine” and prescribed walks to treat emotional problems, hallucinations, and digestive disorders.

What interested me was not that companies rose and fell or that the landscape continually shifted as technology changed but that the leaders of these companies seemed so focused on the competition that they never developed any deep introspection about other destructive forces that were at work. Over

Ma minds more than manners for the girls. She models an aesthetic appreciation of beautiful things, including these delicate floral offerings.

What is a word? What is the word death without its meaning to us? What is the word life without it’s meaning to us? Is it meaningless? Does it in fact have less meaning? Less meaning implies opposition. Less meaning than what? What is life or death without the meaning we attach to it. Without the words life or death, If In fact we knew them not, what then would they be? The answer is simple, nothing... no thing. So then what is a word, if not a fabrication made to solve the problem of not knowing. Not knowing is the beautiful landscape of life, of being. We act like we know what death is, and go on experiencing it while we think we are living. The word for this is irony or more specifically tragedy.

An agile mindset incorporates incremental change over big risky moves. The agile careerist hedges her bets by exploring the landscape on the side, while holding down a job and pulling in the steady paycheck.

All the art experts, all the big galleries, if not maybe quite all of the humble folk who look at them, agree Jackson Pollock’s splatter paintings do indeed count as great art. And JP intended it to be art too. But what’s curious about most of the most radical artists of the post-Second World War period is that they came from nowhere to prominence with the support of . . . the CIA! Yes, the American secret services actively promoted (through books, funding schemes, newspapers and of course galleries) radical art as part of a labyrinthine strategy to undermine the Soviet Union. This was all part of a special strategy to win over intellectuals – including philosophers – described as ‘the battle for Picasso’s mind’ by one former CIA agent, Thomas Braden, in a television interview in the 1970s. Tom Braden was responsible for dispensing money under the heading Congress for Cultural Freedom. Naturally, most of the people he gave money to had no idea that the funds, and hence the artistic direction, actually came from the CIA. Intellectuals and great artists, after all, hate being told what to think. And what was the communist empire doing meanwhile? They were promoting, through galleries, public funding and so on, a very different kind of art supposedly reflecting communist political values. ‘Soviet realism’ was a kind of reaction to ‘Western Impressionism’ (all those dotty – pointilliste the art-experts call them – landscapes and swirling, subjective shapes) and ensured that people in the paintings looked like people, decent, hard-working types too, and what’s more were doing worthy things – like making tractors or (at least) looking inspirationally at the viewer. When Soviet art wasn’t figurative (as this sort of stuff is called), it was very logical and mathematical, full of precise geometrical shapes and carefully weighted blocks of colour.

Outside the man who strolls up and down the plaza selling yo-yos stops at a bench to tighten his shoes. He is your city's version of the dandy in the double-breasted suit who roots through the garbage scavenging for recyclables, or the old couple with sombreros and ukuleles who sit in the park singing songs about their sex life — recognized by everybody, the object of a thousand jokes, but so lasting a feature of the landscape that they inspire as much affection as anyone you could mention.

not in the sense that it brought on the end of the world, but in the sense that it uncovered, or revealed, divides and contours in the American social landscape many of us did not want to face, deep rifts regarding race, religion, nationalism, gender, and fear. It was certainly apocalyptic for me in the way that it exposed, to my shame, my reluctance to resist certain injustices in this country until the resistance movement fit more conveniently with my political persuasions.

It hit her then how miniscule she was in a comparison to the vast landscape below and the endless skies above, yet God cared about each little bird and flower. That meant He cared about every detail of her life, too.

When the book Lean In came out, urging women to step up their leadership in professional life, my initial response was, Oh brother! Women are already doing everything—now we also have to lean in? But all the talk about leaning in got me thinking about women who have had tremendous effects on this world and yet, like so many, haven’t gotten their due. I decided to adopt a hobby: Wherever I was lucky enough to travel, if a shrine dedicated to a female saint was nearby, I would take myself there and make of it what I could. From my grandfather Cassidy’s side of the family, my Catholic heritage goes back more than a thousand years. That is not an easy ship to jump from when the waters get rough, which they have been lately. In turning my eyes toward the women saints, I have found some fun, a lightness to the landscape where questions sprout everywhere—questions such as: So her body hasn’t decomposed? And she did what? With no money? And everybody said, no, no, no to her, but she did it anyway?

All faces resemble each other, yet how easily we see in each uniqueness, individuality, an identity. How deeply we value these differences. The ocean is a whole, but it has countless waves, every one different from all the others; it has currents, each unique, ever-changing; the bottom is a landscape all its own, different everywhere; similarly the shoreline. The atmosphere is whole, but its currents have unique signatures, even though they are just wind. Life on earth is a whole, yet it expresses itself in unique time-bound bodies, microscopic or visible, plant or animal, extinct or living. So there can be no one place to be. There can be no one way to be, no one way to practice, no one way to learn, no one way to love, no one way to grow or to heal, no one way to live, no one way to feel, no one thing to know or be known.

When the peak temperature in leafy suburbs can be lower by as much as fifteen degrees, "landscape is a predictor for mobidity in heatwaves," in the words of one study, which found that African Americans were "52% more likely than white people to live in areas of unnatural 'heat risk-related land cover.'" Imagine what it's like in a refugee camp, or a prison. It's hell, is what it is.

What good came of all this exploration? It was a question philosophes found irresistable. Progress was their almost irresistable answer. But Diderot, the secular pontiff of the Enlightenment, the editor of the Encyclopédie, did not agree. In 1773 he wrote a denunciation of explorers as agents of a new kind of barbarism. Base motives drove them: 'tyranny, crime, ambition, misery, curiousity, I know not what restlessness of spirit, the desire to know and the desire to see, boredom, the dislike of familiar pleasures' - all the baggage of the restless temperament. Lust for discovery was a new form of fanaticism on the part of men seeking 'islands to ravage, people to despoil, subjugate and massacre.' The explorers discovered people morally superior to themselves, because more natural or more civilized, while they, on their side, grew in savagery, far from the polite restraints that reined them in at home. 'All the long-range expeditions,' Diderot insisted, 'have reared a new generation of nomadic savages ... men who visit so many countries that they end by belonging to none ... amphibians who live on the surface of the waters,' deracinated, and, in the strictest sense of the word, demoralized. Certainly, the excesses explorers committed - of arrogance, of egotism, of exploitation - showed the folly of supposing that travel necessarily broadens the mind or improves the character. But Diderot exaggerated. Even as he wrote, the cases of disinterested exploration - for scientific or altruistic purposes - were multiplying. If the eighteenth century rediscovered the beauties of nature and the wonders of the picturesque, it was in part because explorers alerted domestic publics to the grandeurs of the world they discovered. If the conservation of species and landscape became, for the first time in Western history, an objective of imperial policy, it was because of what the historian Richard Grove has called 'green imperialism' - the awakened sense of stewardship inspired by the discovery of new Edens in remote oceans. If philosophers enlarged their view of human nature, and grappled earnestly and, on the whole, inclusively with questions about the admissability of formerly excluded humans - blacks, 'Hottentots,' Australian Aboriginals, and all other people estranged by their appearance or culture - to full membership of the moral community, it was because exploration made these brethren increasingly familiar. If critics of Western institutions were fortified in their strictures and encouraged in their advocacy of popular sovreignty, 'enlightened despotism,' 'free thinking,' civil liberties, and human 'rights,' it was, in part, because exploration acquainted them with challenging models from around the world of how society could be organized and life lived.

In the measure of a day, I heard the music play, and from afar, I watched its beauty unfurl. Its burbling streams, I heard. Its crinkled leaves, I saw. Its salted air whirled against grasses’ virescent and tall, and from a distance, the birds carried a tune, of a dance I knew.

The greatest obstacle to the revival of classical fascism after 1945 was the repugnance it had come to inspire. Hitler aroused nausea as gruesome pictures of the liberated camps were released. Mussolini inspired derision. Devastated landscapes testified to the failure of both of them. Hitler’s charred body in the ruins of his Berlin bunker and Mussolini’s corpse strung up by the heels in a seedy Milan filling station marked the extinction by squalor of their charisma. A revival of fascism faced additional obstacles after 1945: the increasing prosperity and seemingly irreversible globalization of the world economy, the triumph of individualistic consumerism, the declining availability of war as an instrument of national policy for large nations in the nuclear age, the diminishing credibility of a revolutionary threat. All these postwar developments have suggested to many that fascism as it flourished in Europe between the two world wars could not exist after 1945, at least not in the same form.