Leslie Marmon Silko Quotes

But as long as you remember what you have seen, then nothing is gone. As long as you remember, it is part of this story we have together.

You don't have anything if you don't have the stories.

I will tell you something about stories . . . They aren't just entertainment. Don't be fooled. They are all we have, you see, all we have to fight off illness and death.

When someone dies, you don't get over it by forgetting; you get over it by remembering, and you are aware that no person is ever truly lost or gone once they have been in our life and loved us, as we have loved them.

The only way to get change is not through the courts or — heaven forbid — the politicians, but through a change of human consciousness and through a change of heart. Only through the arts — music, poetry, dance, painting, writing — "can we really reach each other,

You damn your own soul better than I ever could.

Being alive was all right then: he had not breathed like that for a long time.

I will tell you something about stories. They aren't just entertainment. They are all we have to fight off illness and death. You don't have anything if you don't have stories.

Moonflowers blossom in the sand hills before dawn, just as I followed him.

He had to keep busy; he had to keep moving so that the sinews connected behind his eyes did not slip loose and spin his eyes to the interior of his skull where the scenes waited for him.

the material world and the flesh are only temporary - there are no sins of the flesh, spirit is everything!

He could get no rest as long as the memories were tangled with the present

Because if you weren't born white, you were forced to see differences; or if you weren't born what they called normal, or if you got injured, then you were left to explore the world of the different.

For a long time he had been white smoke. He did not realize that until he left the hospital, because white smoke had no consciousness of itself. It faded into the white world of their bed sheets and walls; it was sucked away by the words of doctors who tried to talk to the invisible scattered smoke... They saw his outline but they did not realize it was hollow inside.

Then they grow away from the earth then they grow away from the sun then they grow away from the plants and the animals. They see no life. When they look they see only objects. The world is a dead thing for them the trees and the rivers are not alive. the mountains and stones are not alive. The deer and bear are objects. They see no life. They fear. They fear the world. They destroy what they fear. They fear themselves.

Fortunately, her year of graduate classes prepared her for obnoxious conduct.

The truth of course was otherwise, but Lecha had never felt she owed anyone the truth, unless it was truth about their own lives, and then they had to pay her to tell them.

That was the responsibility that went with being human, old Ku’oosh said, the story behind each word must be told so there could be no mistake in the meaning of what had been said; and this demanded great patience and love.

He cried the relief he felt at finally seeing the pattern, the way all the stories fit together—the old stories, the war stories, their stories—to become the story that was still being told. He was not crazy; he had never been crazy. He had only seen and heard the world as it always was: no boundaries, only transitions through all distances and time.

Distances and days existed in themselves then; they all had a story. They were not barriers. If a person wanted to get to the moon, there is a way; it all depended on whether you knew the directions... on whether you knew the story of how others before you had gone. He had believed in the stories for a long time, until the teachers at Indian school taught him not to believe in that kind of "nonsense". But they had been wrong.

He liked the way she talked. There was something in her eyes too. He saw it the first time when she had said, 'I've seen you before many times, and I always remembered you.' Josiah could not remember ever seeing her before, but there was something in her hazel brown eyes that made him believe her.

He made a story for all of them, a story to give them strength. The words of the story poured out of his mouth as if they had substance, pebbles and stone extending to hold the corporal up...knees from buckling...hands from letting go of the blanket.

rip the tongue from the darkness shake the earth with your breathing and explode gray ice dreams of eternity

The white man hated to hear anything about spirits because spirits were already dead and could not be tortured and butchered or shot, the only way the white man knew how to deal with the world. Spirits were immune to the white man's threat...s and to his bribes of money and food. The white man only knew one way to control himself or others and that was with brute force.

I will tell you something about stories, [he said] They aren’t just entertainment. Don’t be fooled. They are all we have, you see, all we have to fight off illness and death.   You don’t have anything if you don’t have the stories.   Their evil is mighty but it can’t stand up to our stories. So they try to destroy the stories let the stories be confused or forgotten. They would like that They would be happy Because we would be defenseless then.

The word he chose to express “fragile” was filled with the intricacies of a continuing process, and with a strength inherent in spider webs woven across paths through sand hills where early in the morning the sun becomes entangled in each filament of web.

Night. Heavenly delicious sweet night of the desert that calls all of us to love her. The night is our comfort with her coolness and darkness. On wings, on feet, on our bellies, out we all come to glory in the night.

Josiah said that only humans had to endure anything, because only humans resisted what they saw outside themselves. Animals did not resist. But they persisted, because they became part of the wind. (...) So they moved with the snow, became part of the snowstorm which drifted up against the trees and fences. And when they died, frozen solid against a fence, with the snow drifted around their heads? "Ah, Tayo," Josiah said, "the wind convinced them they were the ice.

There was not, and there never had been, a legal government by Europeans anywhere in the Americas. Not by any definition, not even by the Europeans’ own definitions and laws. Because no legal government could be established on stolen land.

As long as the hummingbird had not abandoned the land, somewhere there were still flowers, and they could all go on.

It took a great deal of energy to be a human being, and the more the wind blew and the sun moved southwest, the less energy Tayo had.

They are afraid, Tayo. They feel something happening, they can see something happening around them, and it scares them. Indians or Mexicans or whites—most people are afraid of change. They think that if their children have the same color of skin, the same color of eyes, that nothing is changing.” She laughed softly. “They are fools. They blame us, the ones who look different. That way they don’t have to think about what has happened inside themselves.

I am overwhelmed sometimes and feel a great deal of wonder at words, just simple words and how deeply we can touch each other with them, though I know that most of the time language is the most abused of all human abilities or traits.

In that hospital they don't bury the dead, they keep them in rooms and talk to them.

This feeling was their life, vitality locked deep in blood memory, and the people were strong, and the fifth world endured, and nothing was ever lost as long as the love remained.

He watched her face, and her eyes never shifted; they were with him while she moved out of her clothes and while she slipped his jeans down his legs, stroking his thighs. She unbuttoned his shirt, and all he was aware of was the heat of his own breathing and the warmth radiating from his belly, pulsing between his legs. He was afraid of being lost, so he repeated trail marks to himself: this is my mouth tasting the salt of her brown breasts; this is my voice calling out to her. He eased himself deeper within her and felt the warmth close around him like river sand, softly giving way under foot, then closing firmly around the ankle in cloudy warm water. But he did not get lost, and he smiled at her as she held his hips and pulled him closer. He let the motion carry him, and he could feel the momentum within, at first almost imperceptible, gathering in his belly. When it came, it was the edge of a steep riverbank crumbling under the downpour until suddenly it all broke loose and collapsed into itself.

Leslie Marmon Silko whispers the story is long. No, longer. Longer than that even. Longer than anything. With Anne Sexton and Sylvia Plath drink at the bar. Laugh the dark laughter in the dark light. Sing a dark drunken song of men. Make a slurry toast. Rock back and forth, and drink the dark, and bask in the wallow of women knowing what women know. Just for a night. When you need to feel the ground of your life and the heart of the world, there will be a bonfire at the edge of a canyon under a night sky where Joy Harjo will sing your bonesong. Go ahead-with Anne Carson - rebuild the wreckage of a life a word at a time, ignoring grammar and the forms that keep culture humming. Make word war and have it out and settle it, scattering old meanings like hacked to pieces paper doll confetti. The lines that are left … they are awake and growling. With Virginia Woolf there will perhaps be a long walk in a garden or along a shore, perhaps a walk that will last all day. She will put her arm in yours and gaze out. At your backs will be history. In front of you, just the ordinary day, which is of course your entire life. Like language. The small backs of words. Stretching out horizonless. I am in a midnight blue room. A writing room. With a blood red desk. A room with rituals and sanctuaries. I made it for myself. It took me years. I reach down below my desk and pull up a bottle of scotch. Balvenie. 30 year. I pour myself an amber shot. I drink. Warm lips, throat. I close my eyes. I am not Virginia Woolf. But there is a line of hers that keeps me well: Arrange whatever pieces come your way. I am not alone. Whatever else there was or is, writing is with me.

Anybody can act violently--there is nothing to it, but not every person is able to destroy his enemy with words.

He inhabited a gray winter fog on a distant elk mountain where hunters are lost indefinitely and their own bones mark the boundaries.

The powers who controlled the United States didn't want the people to know their history. If the people knew their history, they would realize they must rise up.

Even idiots can understand a church that tortures and kills is a church that can no longer heal.

The white man had violated the Mother Earth, and he had been stricken with the sensation of a gaping emptiness between his throat and his heart.

Sacred time is always in the Present.

Jungle rain had no beginning or end; it grew like foliage from the sky, branching and arching to the earth, sometimes in solid thickets entangling the islands, and other times, in tendrils of blue mist curling out of coastal clouds. The jungle breathed an eternal green that fevered men until they dripped sweat the way rubbery jungle leaves dripped the monsoon rain.

We don’t believe in boundaries. Borders. Nothing like that. We are here thousands of years before the first whites. We are here before maps or quit claims. We know where we belong on this earth. We have always moved freely. North-south. East-west. We pay no attention to what isn’t real. Imaginary lines. Imaginary minutes and hours. Written law. We recognize none of that. And we carry a great many things back and forth. We don’t see any border. We have been here and this has continued thousands of years.

The white man had sprinkled holy water and had prayed for almost five hundred years in the Americas, and still the Christian God was absent. Now Clinton understood why European philosophers had told their people God was dead: the white man’s God had died about the time the Europeans had started sailing around the world. In the Americas the white man never referred to the past but only to the future. The white man didn’t seem to understand he had no future here because he had no past, no spirits of ancestors here.

Memory is tricky-memory for certain facts and or details is probably more imaginative than anything, but the important thing is to keep the feeling the story has. I never forget that: the feeling one has of the story is what you must strive to bring forth faithfully.

Old stories and new stories are essential: They tell us who we are, and they enable us to survive. We thank all the ancestors, and we thank all those people who keep on telling stories generation after generation, because if you don’t have the stories, you don’t have anything.

He lay there and hated them. Not for what they wanted to do with him, but for what they did to the earth with their machines, and to the animals with their packs of dogs and their guns. It happened again and again, and the people had to watch, unable to save or to protect any of the things that were so important to them. He ground his teeth together; there must be something he could do to still the vague, constant fear unraveling inside him: the earth and the animals might not know; they might not understand that he was not one of them; he was not one of the destroyers.

Earth was their mother, but her land and water could never be desecrated; blasted open and polluted by man, but never desecrated. Man only desecrated himself in such acts; puny humans could not affect the integrity of Earth. Earth always was and would ever be sacred. Mother Earth might be ravaged by the Destroyers, but she still loved the people.

Nearly all human cultures plant gardens, and the garden itself has ancient religious connections. For a long time, I've been interested in pre-Christian European beliefs, and the pagan devotions to sacred groves of trees and sacred springs. My German translator gave me a fascinating book on the archaeology of Old Europe, and in it I discovered ancient artifacts that showed that the Old European cultures once revered snakes, just as we Pueblo Indian people still do. So I decided to take all these elements - orchids, gladiolus, ancient gardens, Victorian gardens, Native American gardens, Old European figures of Snake-bird Goddesses - and write a novel about two young sisters at the turn of the century.

The people had been taught to despise themselves because they were left with barren land and dry rivers. But they were wrong. It was the white people who had nothing; it was the white people who were suffering as thieves do, never able to forget that their pride was wrapped in something stolen, something that had never been, and could never be, theirs. The destroyers had tricked the white people as completely as they had fooled the Indians, and now only a few people understood how the filthy deception worked; only a few people knew that the lie was destroying the white people faster than it was destroying Indian people. But the effects were hidden, evident only in the sterility of their art, which continued to feed off the vitality of other cultures, and in the dissolution of their consciousness into dead objects: the plastic and neon, the concrete and steel. Hollow and lifeless as a witchery clay figure. And what little still remained to white people was shriveled like a seed hoarded too long, shrunken past its time, and split open now, to expose a fragile, pale leaf stem, perfectly formed and dead.

Stories themselves have spirit and being, and they have a way of communicating on different levels. The story itself communicates with us regardless of what language it is told in. Of course stories are always funnier and more vivid when they are told in their original language by a good storyteller. But what I love about stories is they can survive and continue in some form or other resembling themselves regardless of how good or how bad the storyteller is, no matter what language they are told or written in. This is because the human brain favors stories or the narrative form as a primary means of organizing and relating human experience. Stories contain large amounts of valuable information even when they storyteller forgets or invents details.

As the human soul approached death, it got more and more restless and more and more energy for wandering, a preparation for all eternity where the old people believed no one would rest or sleep but would range over the earth and between the moon and stars, traveling on winds and clouds, in constant motion with ocean tides, migrations of birds and animals, pulsing within all life and all beings ever created,

The humans would not be a great loss to the earth. The energy or “electricity” of a being’s spirit was not extinguished by death; it was set free from the flesh. Dust to dust or as a meal for pack rats, the energy of the spirit was never lost. Out of the dust grew the plants; the plants were consumed and became muscle and bone; and all the time, the energy had only been changing form, nothing had been lost or destroyed.

If the white people never looked beyond the lie, to see that theirs was a nation built on stolen land, then they would never be able to understand how they had been used by the witchery; they would never know that they were still being manipulated by those who knew how to stir the ingredients together: white thievery and injustice boiling up the anger and hatred that would finally destroy the world: the starving against the fat, the colored against the white. The destroyers had only to set it into motion, and sit back to count the casualties. But it was more than a body count; the lies devoured white hearts, and for more than two hundred years white people had worked to fill their emptiness; they tried to glut the hollowness with patriotic wars and with great technology and the wealth it brought. And always they had been fooling themselves, and they knew it.

She taught me this above all else: things which don't shift and grow are dead things. They are things the witchery people want. Witchery works to scare people, to make them fear growth. But it has always been necessary, and more than ever now, it is. Otherwise we won't make it. We won't survive. That's what the witchery is counting on: that we will cling to the ceremonies the way they were, and then their power will triumph, and the people will be no more.

But the effects were hidden, evident only in the sterility of their art, which continued to feed off the vitality of other cultures, and in the dissolution of their consciousness into dead objects: the plastic and neon, the concrete and steel. Hollow and lifeless as a witchery clay figure. And what little still remained to white people was shriveled like a seed hoarded too long, shrunken past its time, and split open now, to expose a fragile, pale leaf stem, perfectly formed and dead.

Laura described the remnants of snake devotion still found in rural villages of the Black and Adriatic Seas. There, people believed black or green snakes bore guardian spirits who protected their cattle and their homes. In her travels Laura saw ornamental snakes carved to decorate the roofs and windows for protection. Great good fortune came to anyone who met a big white snake wearing a crown,; the crowned snake was the sister of the waterbird goddess, owner and guardian of life water and life milk.

Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Svabo The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami Books for Banned Love Sea of Poppies, by Amitav Ghosh The English Patient, by Michael Ondaatje Euphoria, by Lily King The Red and the Black, by Stendahl Luster, by Raven Leilani Asymmetry, by Lisa Halliday All the Pretty Horses, by Cormac McCarthy Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason

What was coming could not be stopped; the people might join or not […] It made no difference because what was coming was relentless and inevitable; it might require five or ten years of great violence and conflict. It might require a hundred years of spirit voices and simple population growth, but the result would be the same: tribal people would retake the Americas; tribal people would retake ancestral land all over the world. This was what earth’s spirits wanted: her indigenous children who loved her and did not harm her.

Where Mountain Lion Lay Down with Deer I climb the black rock mountain Stepping from day to day, Silently, I smell the wind for my ancestors pale blue leaves crushed wild mountain smell. Returning up the gray stone cliff where I descended a thousand years ago. Returning to faded black stone Where mountain lions lay down with deer. It is better to stay up here watching wind’s reflection in tall yellow flowers. How I danced in snow-frost moonlight distant stars to the end of the Earth, How I swam away in freezing mountain water narrow mossy canyon tumbling down out of the mountain out of deep canyon stone down the memory spilling out into the world.

Late at night, when she and Ferro had waited on the ridge or had ridden on horseback into the steep canyons to wait for a drop, she had watched the meteor showers. They would begin shortly after midnight and continue until two A. M. On those nights it seemed as if the sky had overtaken the earth and was closing over it, so that the volcanic rocks and soil themselves reflected light like the surface of the moon. At those moments she could not think of any other place on the earth that she would rather be. She thought about the old ones and Yoeme and how they watched the sky relentlessly, translating sudden bursts of light into lengthy messages concerning the future and the past.

We all have been waiting for help a long time. But it never has been easy. The people must do it. You must do it." Betonie sounded as if he were explaining something simple but important to a small child. But Tayo's stomach clenched around the words like knives stuck into his guts. There was something large and terrifying in the old man's words. He wanted to yell at the medicine man, to yell the things the white doctors had yelled to him - that he had to think only of himself, and not about others, that he would never get well as long as he used words like "we" and "us." But he had known the answer all along, even while the white doctors were telling him he could get well and he was trying to believe them: medicine didn't work that way, because the world didn't work that way. His sickness was onnly part of something larger, and his cure would be found only in something great and inclusive of everything.

at that time she had not yet seen that the horizon was an illusion and

I realize many wonderful things about language - "realize" in the sense of feeling or understanding intuitively: I realize such things most often when I am greatly concerned with another person's feelings. I think such realization is one gift which human beings may give each other. I'm not much good at analysis or scholarly efforts with language, probably because I don't value them as much as I value understanding, which is informed by that which is deeply felt before it is examined.

They are afraid, Tayo. They feel something happening, they can see something happening around them, and it scares them. Indians or Mexicans or whites—most people are afraid of change. They think that if their children have the same color of skin, the same color of eyes, that nothing is changing.” She laughed softly. "They are fools. They blame us, the ones who look different. That way they don't have to think about what has happened inside themselves.

Some people act like witchery is responsible for everything that happens, when actually witchery only manipulates a small portion.

The morning of the funeral an honor guard from Albuquerque fired the salute; two big flags covered the coffins completely, and it looked as if the people from the village had gathered only to bury the flags.

What are we to do with the knowledge that Tayo was once a woman? That Ceremony held but abandoned considerable investments in Chicana identity, in urban life, and shades of acculturation? By outlining the trajectory of a composition process, drafts can be indicative of important variables in a finished work. The Angie drafts show that (despite Silko’s efforts to deflect it) considerable pressure can be brought to bear upon the choice of a male protagonist for the novel and upon the shallowness of its representation of human women, as well as upon the choice of a 1940s setting, and even on the rural setting and the novel’s form. Ceremony

All across earth there were those listening and waiting, isolated and lonely, despised outcasts of the earth. First the lights would go out— dynamite or earthquake, it did not matter. All sources of electrical power generation would be destroyed. Darkness was the ally of the poor. [...] With the return of Indian land would come the return of justice, followed by peace.

Fire on the Mountain, by Anita Desai Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Szabó The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami

He crawled deeper into the black gauzy web where he could rest in the silence, where his coming and going through this world was no more than a star falling across the night sky. He left behind the pain and buzzing in his head; they were shut out by the wide dark distance.

it was important for the people to understand that all around them lay human slavery, although most recently it had been called by other names. Everyone was or had been a slave to some other person or to something that was controlled by another. Most people were not free.

I will tell you something about stories, [he said] They aren't just entertainment. Don't be fooled. They are all we have, you see, all we have to fight off illness and death. You don't have anything if you don't have the stories.

That was the first time Tayo had realized that the man's skin was not much different from his own. The skin. He saw the skin of the corpses again and again, in ditches on either side of the long muddy road - skin that was stretched shiny and dark over bloated hands; even white men were darker after death. There was no difference when they were swollen and covered with flies. That had become the worst thing for Tayo: they looked too familiar even when they were alive.

Tayo looked at the long white hairs growing out of the lips like antennas, he got the choking in his throat again, and he cried for all of them, for what he had done.

The way I heard it was in the old days long time ago they had this Scalp Society for warriors who killed or touched dead enemies. They had things they must do otherwise K'oo'ko wouldn't haunt their dreams with her great fangs and everything would be endangered. Maybe the rain wouldn't come or the deer would go away. That's why they had things they must do The flute and dancing blue cornmeal and hair-washing. All these things they had to do.

The old man only made him certain of something he had feared all along, something in the old stories. It took only one person to tear away the delicate strands of the web, spilling the rays of sun into the sand, and the fragile world would be injured. Once there had been a man who cursed the rain clouds, a man of monstrous dreams. Tayo screamed, and curled his body against the pain.

He had been thinking about how easy it was to stay alive now that he didn't care about being alive anymore.

He had heard Auntie talk about the veterans - drunk all the time, she said. But he knew why. it was something the old people could not understand. Liquor was medicine for the anger that made them hurt, for the pain of the loss, medicine for tight bellies and choked-up throats.

He pointed his chin at the springs and around at the narrow canyon. "This is where we come from, see. The sand, this stone, these trees, the vines, all the wildflowers. this earth keeps us going." He took off his hat and wiped his forehead on his shirt. "These dry years you hear some people complaining, you know, about the dust and the wind, and how dry it is. But the wind and the dust, they are part of life too, like the sun and the sky. You don't swear at them. It's people, see. They're the ones. The old people used to say that droughts happen when people forget, when people misbehave.

He had only seen and heard the world as it always was: no boundaries, only transitions through all distances and time.

The room pulsed with feeling,

He was overwheled by the love he felt for her; tears filled his eyes and the ache in his throat ran deep into his chest. He ran down the hill to the river, through the light rain until the pain faded like fog mist. He stood and watched the rainy dawn, and he knew he would find her again.

He was overwhelmed by the love he felt for her; tears filled his eyes and the ache in his throat ran deep into his chest. He ran down the hill to the river, through the light rain until th pain faded like fog mist. He stood and watched the rainy dawn, and he knew he would find her again.

I will tell you something about stories, [he said] They aren’t just entertainment. Don’t be fooled. They are all we have, you see, all we have to fight off illness and death.   You don’t have anything if you don’t have the stories.   Their evil is mighty but it can’t stand up to our stories. So they try to destroy the stories let the stories be confused or forgotten. They would like that They would be happy Because we would be defenseless then.   He

Marc Reisner’s Cadillac Desert, Rick Bass’s The Watch, Terry Tempest Williams’s Refuge, Charles Bowden’s Red Line, Leslie Marmon Silko’s Ceremony, Doug Peacock’s Grizzly Years, and Pam Houston’s Cowboys Are My Weakness.

They only fool themselves when they think it is theirs. The deeds and papers don’t mean anything. It is the people who belong to the mountain.

Prayer to the Pacific I traveled to the ocean distant from my southwest land of sandrock to the moving blue water Big as the myth of origin. Pale pale water in the yellow-white light of sun floating west to China where ocean herself was born. Clouds that blow across the sand are wet. Squat in the wet sand and speak to the Ocean: I return to you turquoise the red coral you sent us, sister spirit of Earth. Four round stones in my pocket I carry back the ocean to suck and to taste. Thirty thousand years ago Indians came riding across the ocean carried by giant sea turtles. Waves were high that day great sea turtles waded slowly out from the gray sundown sea. Grandfather Turtle rolled in the sand four times and disappeared swimming into the sun. And so from that time immemorial, as the old people say, rain clouds drift from the west gift from the ocean. Green leaves in the wind Wet earth on my feet swallowing raindrops clear from China.

The word he chose to express “fragile” was filled with the intricacies of a continuing process, and with a strength inherent in spider webs woven across paths through sand hills where early in the morning the sun becomes entangled in each filament of web. It took a long time to explain the fragility and intricacy because no word exists alone, and the reason for choosing each word had to be explained with a story about why it must be said this certain way. That was the responsibility that went with being human, old Ku’oosh said, the story behind each word must be told so there could be no mistake in the meaning of what had been said; and

How much longer would they last? How long before one of them got stabbed in a bar fight, not just knocked out? How long before this old truck swerved off the road or head-on into a bus? Bit it didn't make much difference anyway. The drinking and hell raising were just things they did, as he had done sitting at the ranch all afternoon, watching the yellow cat bite the air for flies; passing the time away, waiting for it to end.

He wanted to walk until he recognized himself again.

Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Svabo The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami

I will tell you something about stories. They aren't just entertainment. They are all we have to fight off illness and death. You don't have anything if you don't have stories.

I will tell you something about stories. They aren't just entertainment. They are all we have to fight off illness and death. You don't have anything if you don't have stories.

He laughed. "They don't understand. We know these hills, and we are comfortable here." There was something about the way the old man said the word "comfortable." It had a different meaning--not the comfort of big houses or rich food or even clean streets, but the comfort of belonging with the land, and the peace of being with these hills. But the special meaning the old man had given to the English word was burned away the glare of the sun on tin cans and broken glass, blinding reflections off the mirrors and chrome of the wrecked cars in the dump below.

He was standing with the wind at his back, like that mule, and he felt he could stand there indefinitely, maybe forever, like a fence post or a tree. It took a great deal of energy to be a human being, and the more the wind blew and the sun moved southwest, the less energy Tayo had.

There are much worse things, you know. The destroyers: they work to see how much can be lost, how much can be forgotten. They destroy the feeling people have for each other." He took a deep breath; it hurt his chest. He thought of Josiah then, and Rocky "Their highest ambition is to gut human beings while they are still breathing, to hold the heart still beating so the victim will never feel anything again. When they finish, you watch yourself from a distance and you can't even cry - not even for yourself." He recognized it then: the thick white skin that had enclosed him, silencing the sensations of living, the live as well as the grief; and he had been left with only the hum of the tissues that enclosed him. He never knew how long he had been lost there, in that hospital in Los Angeles. "They are all around now. Only destruction is capable of arousing a sensation, the remains of something alive in them; and each time they do it, the scar thickens, and they feel less and less, yet still hungering for more.

You damn your own soul better than I ever could