Libraries And Light Quotes

In the light, we read the inventions of others; in the darkness we invent our own stories.

...the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it.

Libraries are reservoirs of strength, grace and wit, reminders of order, calm and continuity, lakes of mental energy, neither warm nor cold, light nor dark ... In any library in the world, I am at home, unselfconscious, still and absorbed." [Still in Melbourne January 1987]

It looked like the sort of book described in library catalogues as 'slightly foxed', although it would be more honest to admit that it looked as though it had been badgered, wolved and possibly beared as well.

Now take my hand and hold it tight. I will not fail you here tonight, For failing you, I fail myself And place my soul upon a shelf In Hell's library without light. I will not fail you here tonight.

Until then I had thought each book spoke of the things, human or divine, that lie outside books. Now I realized that not infrequently books speak of books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then the place of a long, centuries-old murmuring, an imperceptible dialogue between one parchment and another, a living thing, a receptacle of powers not to be ruled by a human mind, a treasure of secrets emanated by many minds, surviving the death of those who had produced them or had been their conveyors.

When you meet someone so different from yourself, in a good way, you don't even have to kiss to have fireworks go off. It's like fireworks in your heart all the time. I always wondered, do opposites really attract? Now I know for sure they do. I'd grown up going to the library as often as most people go to the grocery store. Jackson didn't need to read about exciting people or places. He went out and found them, or created excitement himself if there wasn't any to be found. The things I like are pretty simple. Burning CDs around themes, like Songs to Get You Groove On and Tunes to Fix a Broken Heart; watching movies; baking cookies; and swimming. It's like I was a salad with a light vinaigrette, and Jackson was a platter of seafood Cajun pasta. Alone, we were good. Together, we were fantastic.

The atmosphere of the place soothed her automatically; the rich lantern lights, the sheer scent of paper and leather, and the fact that everywhere she looked, there were books, books, beautiful books.

What I saw next stopped me dead in my tracks. Books. Not just one or two dozen, but hundreds of them. In crates. In piles on the floor. In bookcases that stretched from floor to ceiling and lined the entire room. I turned around and around in a slow circle, feeling as if I'd just stumbled into Ali Baba's cave. I was breathless, close to tears, and positively dizzy with greed.

The library smells like old books — a thousand leather doorways into other worlds. I hear silence, like the mind of God. I feel a presence in the empty chair beside me. The librarian watches me suspiciously. But the library is a sacred place, and I sit with the patron saint of readers. Pulsing goddess light moves through me for one moment like a glimpse of eternity instantly forgotten. She is gone. I smell mold, I hear the clock ticking, I see an empty chair. Ask me now and I'll say this is just a place where you can't play music or eat. She's gone. The library sucks.

She threw the door open. The room seemed to be a sort of library, the walls lined with books. It was brightly lit, light streaming through a tall picture window. In the middle of the room stood Jace. He wasn't alone, though-not by a long shot. There was a dark-haired girl with him, a girl Clary had never seen before, and the two of them were locked together in a passionate embrace

Read a verse of Homer and you can walk the walls of Troy alongside Hector; fall into a paragraph by Fitzgerald and your Now entangles with Gatsby’s Now; open a 1953 book by Ray Bradbury and go hunting T. rexes. Ursula Le Guin said: “Story is our only boat for sailing on the river of time,” and she’s right, of course. The shelves of every library in the world brim with time machines. Step into one, and off you go.

There are a few things in life so beautiful they hurt: swimming in the ocean while it rains, reading alone in empty libraries, the sea of stars that appear when you’re miles away from the neon lights of the city, bars after 2am, walking in the wilderness, all the phases of the moon, the things we do not know about the universe, and you.

She was dashing back, an enormous old book in her arms. “I never thought to look in here!” she whispered excitedly. “I got this out of the library weeks ago for a bit of light reading.” “Light?” said Ron.

I liked to sit in the library to write essays, allowing my sense of time and personal identity to dissolve as the light dimmed outside the windows.

The library possessed a life of its own, had become greater than Cornelius had ever intended. For these were not ordinary books the libraries kept. They were knowledge, given life. Wisdom, given voice. They sang when starlight streamed through the library's windows. They felt pain and suffered heartbreak. Sometimes they were sinister, grotesque- but so was the world outside. And that made the world no less worth fighting for, because wherever there was darkness, there was also so much light.

He kissed me for a long moment, holding my shoulders, perhaps to keep me from pressing my whole body against his. Then he tried to lift my bag. "My God," he said. "What happened?" "I found out one may check out twenty books at a time from the school library.

Read as many books as you can. Choose courage over caution. Take time to visit libraries. Look for light in the darkness. Have faith in yourself. Know that love is what matters most.

As I walked, I ran my fingers along the spines of hundreds of books. I let myself be imbued with the smell, with the light that filtered through the cracks or from the glass lanterns embedded in the wooden structure, floating among mirrors and shadows.

She regarded books as the emblems of secret brotherhood. A man with this sort of library couldn't possibly hurt her.

Out of the closets and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief…. Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité, the sterile and assertive ego that imprisons us as it creates. Vive le vol-pure, shameless, total. We are not responsible. Steal anything in sight.

To be taught to read—what is the use of that, if you know not whether what you read is false or true? To be taught to write or to speak—but what is the use of speaking, if you have nothing to say? To be taught to think—nay, what is the use of being able to think, if you have nothing to think of? But to be taught to see is to gain word and thought at once, and both true.

Heaven, Kiwi thought, would be the reading room of a great library. But it would be private. Cozy. You wouldn’t have to worry about some squeaky-shoed librarian turning the lights off on you or gauging your literacy by reading the names on your book spines, and there wouldn’t be a single other patron. The whole place would hum with a library’s peace, filtering softly over you like white bars of light…

One: A Library Is the Size of the Universe and the Universe Is the Size of a Library. Two: Everyone Is Looking for a Book Strong Enough to Change Them. Three: Books Operate Under Unstable Physicks so Turn out the Lights when You Lock Up.

Libraries are reservoirs of strength, grace and wit, reminders of order, calm and continuity, lakes of mental energy, neither warm nor cold, light nor dark.... In any library in the world, I am at home, unselfconscious, still and absorbed. ~Germaine Greer

And is it so hard to believe that souls might also travel those paths? That her father and Etienne and Madame Manec and the German boy named Werner Pfennig might harry the sky in flocks, like egrets, like terns, like starlings? That great shuttles of souls might fly about, faded but audible if you listen closely enough? They flow above the chimneys, ride the sidewalks, slip through your jacket and shirt and breastbone and lungs, and pass out through the other side, the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it.

For the rest of my life, I would seek out the library the way some search for the soft light of a chapel in the dark.

Boys and girls hid in the library stacks or behind the gym and flew at each other with no promise of love or even kindness, tasting one another in clumsly attempts to steal pleasure before they could be hurt or hated.

When I began writing The Night Bookmobile, it was a story about a woman's secret life as a reader. As I worked it also became a story about the claims that books place on their readers, the imbalance between our inner and outer lives, a cautionary tale of the seductions of the written word. It became a vision of the afterlife as a library, of heaven as a funky old camper filled with everything you've ever read. What is this heaven? What is it we desire from the hours, weeks, lifetimes we devote to books? What would you sacrifice to sit in that comfy chair with perfect light for an afternoon in eternity, reading the perfect book, forever?

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

I hope you’ll understand that I am not quoting those great words lightly. I do mean it. Knowledge sets us free, art sets us free. A great library is freedom.

Read to your children Twenty minutes a day; You have the time, And so do they. Read while the laundry is in the machine; Read while the dinner cooks; Tuck a child in the crook of your arm And reach for the library books. Hide the remote, Let the computer games cool, For one day your children will be off to school; Remedial? Gifted? You have the choice; Let them hear their first tales In the sound of your voice. Read in the morning; Read over noon; Read by the light of Goodnight Moon. Turn the pages together, Sitting close as you'll fit, Till a small voice beside you says, "Hey, don't quit.

So many windows are dark. It's as if the city has become a library of books in an unknown language, the houses great shelves of illegible volumes, the lamps all extinguished. But there is a machine in the attic at work again. A spark in the night.

There was magic, and there was magic. Thanks to Gutenberg, I could no longer pull wands, potions, and light sabers out of books, but when it came to research, give me a well-stocked library and I was a goddamned Merlin.

An exile, said Zafar, is a refugee with a library.

Mostly, the library had the quiet that managed to fill libraries like a solid presence.

In the candle's flickering light, the library's thousands of books emerged from the shadows, and for a moment Nicholas could not help admiring them again. During free time he had almost never looked up from the pages he was reading, but now he saw the books anew, from without rather than from within, and was reminded of how beautiful they were simply as objects. The geometrical wonder of them all, each book on its own and all the books together, row upon row, the infinite patterns and possibilities they presented. They were truly lovely.

a light that made me think of long hours in dusty libraries, and old books, and silence.

People walk the paths of the gardens below, and the wind sings anthems in the hedges, and the big old cedars at the entrance to the maze creak. Marie-Laure imagines the electromagnetic waves traveling into and out of Michel’s machine, bending around them, just as Etienne used to describe, except now a thousand times more crisscross the air than when he lived - maybe a million times more. Torrents of text conversations, tides of cell conversations, of televisions programs, of e-mails, vast networks of fiber and wire interlaced above and beneath the city, passing through buildings, arcing between transmitters in Metro tunnels, between antennas atop buildings, from lampposts with cellular transmitters in them, commercials for Carrefour and Evian and prebaked toaster pastries flashing into space and back to earth again, I am going to be late and Maybe we should get reservations? and Pick up avocados and What did he say? and ten thousand I miss yous, fifty thousand I love yous, hate mail and appointment reminders and market updates, jewelry ads, coffee ads, furniture ads flying invisibly over the warrens of Paris, over the battlefields and tombs, over the Ardennes, over the Rhine, over Belgium and Denmark, over the scarred and ever-shifting landscape we call nations. And is it so hard to believe that souls might also travel those paths? That her father and Etienne and Madame Manec and the German boy named Werner Pfennig might harry the sky in flocks, like egrets, like terns, like starlings? That great shuttles of souls might fly about, faded but audible if you listen closely enough? They flow above the chimneys, ride the sidewalks, slip through your jacket and shirt and breastbone and lungs, and pass out through the other side, the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it. Every hour, she thinks, someone for whom the war was memory falls out of the world. We rise again in the grass. In the flowers. In songs.

As the light began to fade, the architects lit the library’s gas jets, which hissed like mildly perturbed cats.

You keep the lights on in a library the same way you keep the lights on in the emergency of a hospital.

About the library," he whispered. He took out the pencil stub from his pocket and poised it over the page. "Will you write like Mr. Blake or like yourself?" I inquired. He wrote and whispered the words aloud as he did. "I am in the library. It smells like old stuff." "It smells familiar," I suggested. "It smells like words." Because his left side was to me, I couldn't easily take his hand to write. "Books are boring," James said as he wrote. "They line the walls like a thousand leather doorways to be opened into worlds unknown," I offered. He thought about this and then wrote with a smile, "I hate books.

You know this girl. Her hair is neither long nor short nor light nor dark. She parts it precisely in the middle. She sits precisely in the middle of the classroom, and when she used to ride the school bus, she sat precisely in the middle of that, too. She joins clubs, but is never the president of them. Sometimes she is the secretary; usually, just a member. When asked, she has been known to paints sets for the school play. She always has a date to the dance, but is never anyone’s first choice. In point of fact, she’s nobody’s first choice for anything. Her best friend became her best friend when another girl moved away. She has a group of girls she eats lunch with every day, but God, how they bore her. Sometimes, when she can’t stand it anymore, she eats in the library instead. Truth be told, she prefers books to people, and the librarian always seems happy to see her. She knows there are other people who have it worse—she isn’t poor or ugly or friendless or teased. Of course, she’s also aware that the reason no one teases is because no one ever notices her. This isn’t to say she doesn’t have qualities. She is pretty, maybe, if anyone would bother to look. And she gets good enough grades. And she doesn’t drink and drive. And she says NO to drugs. And she is always where she says she will be. And she calls when she’s going to be late. And she feels a little, just a little, dead inside. She thinks, You think you know me, but you don’t. She thinks, None of you has any idea about all the things in my heart. She thinks, None of you has any idea how really and truly beautiful I am. She thinks, See me. See me. See me. Sometimes she thinks she will scream. Sometimes she imagines sticking her head in an oven. But she doesn’t. She just writes it all down in her journal and waits. She is waiting for someone to see.

God, who am I? I sit in the library tonight, the lights glaring overhead, the fan whirring loudly. Girls, girls everywhere, reading books. Intent faces, flesh pink, white, yellow. And I sit here without identity: faceless. My head aches. There is history to read... centuries to comprehend before I sleep, millions of lives to assimilate before breakfast tomorrow. Yet I know that back at the house there is my room, full of my presence. There is my date this weekend: someone believes I am a human being, not a name merely. And these are the only indications that I am a whole person, not merely a knot of nerves, without identity. I'm lost.

Steadily, the room shrank, till the book thief could touch the shelves within a few small steps. She ran the back of her hand along the first shelf, listening to the shuffle of her fingernails gliding across the spinal cord of each book. It sounded like an instrument, or the notes of running feet. She used both hands. She raced them. One shelf against the other. And she laughed. Her voice was sprawled out, high in her throat, and when she eventually stopped and stood in the middle of the room, she spent many minutes looking from the shelves to her fingers and back again. How many books had she touched? How many had she felt? She walked over and did it again, this time much slower, with her hand facing forward, allowing the dough of her palm to feel the small hurdle of each book. It felt like magic, like beauty, as bright lines of light shone down from a chandelier. Several times, she almost pulled a title from its place but didn't dare disturb them. They were too perfect.

My second thoughts condemn And wonder how I dare To look you in the eye. What right have I to swear Even at one a.m. To love you till I die? Earth meets too many crimes For fibs to interest her; If I can give my word, Forgiveness can recur Any number of times In Time. Which is absurd. Tempus fugit. Quite. So finish up your drink. All flesh is grass. It is. But who on earth can think With heavy heart or light Of what will come of this?

There was a library and it is ashes. Let its long length assemble. Than its stone walls its paper walls are thicker; armoured with learning, with philosophy, with poetry that drifts or dances clamped though it is in midnight. Shielded with flax and calfskin and a cold weight of ink, there broods the ghost of Sepulchrave, the melancholy Earl, seventy-sixth lord of half-light.

They flow above the chimneys, ride the sidewalks, slip through your jacket and shirt and breastbone and lungs, and pass out through the other side, the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it.

I tramp the perpetual journey My signs are a rain-proof coat, good shoes, and a staff cut from the woods, No friend of mine takes his ease in my chair, I have no chair, no philosophy, I lead no man to a dinner-table, library, exchange, But each man and each woman of you I lead upon a knoll, My left hand hooking you round the waist, My right hand pointing to landscapes of continents and the public road. Not I, not any one else can travel that road for you, You must travel it for yourself. It is not far, it is within reach, Perhaps you have been on it since you were born and did not know, Perhaps it is everywhere on water and on land. Shoulder your duds dear son, and I will mine, and let us hasten forth, Wonderful cities and free nations we shall fetch as we go. If you tire, give me both burdens, and rest the chuff of your hand on my hip, And in due time you shall repay the same service to me, For after we start we never lie by again. This day before dawn I ascended a hill and look'd at the crowded heaven, And I said to my spirit When we become the enfolders of those orbs, and the pleasure and knowledge of every thing in them, shall we be fill'd and satisfied then? And my spirit said No, we but level that lift to pass and continue beyond. You are also asking me questions and I hear you, I answer that I cannot answer, you must find out for yourself. Sit a while dear son, Here are biscuits to eat and here is milk to drink, But as soon as you sleep and renew yourself in sweet clothes, I kiss you with a good-by kiss and open the gate for your egress hence. Long enough have you dream'd contemptible dreams, Now I wash the gum from your eyes, You must habit yourself to the dazzle of the light and of every moment of your life. Long have you timidly waded holding a plank by the shore, Now I will you to be a bold swimmer, To jump off in the midst of the sea, rise again, nod to me, shout, and laughingly dash with your hair.

I followed her into the library. The pale light from our chamber below dissipated in the room, but I could still make out – my heart leapt at the sight – row after row, shelf above shelf, floor to ceiling, a city of books. Speck turned to me and asked, Now, what shall we read first?

The only way to educate oneself is by making books a life companion.

Standing before the worn books and dusty shelves, she seemed like a ray of light in the windowless room.

Our civilization has decided, and very justly decided, that determining the guilt or innocence of men is a thing too important to be trusted to trained men. It wishes for light upon that awful matter, it asks men who know no more law than I know, but who can feel the thing that I felt in that jury box. When it wants a library catalogued, or the solar system discovered, or any trifle of that kind, it uses up its specialists. But when it wishes anything done which is really serious, it collects twelve of the ordinary men standing round. The same thing was done, if I remember right, by the Founder of Christianity.

There was something about the smell of books, the ink-and-paper-and-leather scent, the way dust in a library seemed to behave differently from the dust in any other room -- it was golden in the light of the witchlight tapers, setting like pollen across the polished surfaces of long tables.

Oliver's boardroom was actually a library. A good library. A library where books looked worn-out and well read and loved on. The library was two stories tall with a balcony wrapped around the top level. The big window on the top floor was propped half open. A rebel beam of sunlight pushed through the clouds, shining through the rain beads stuck to the screen and glass. And then that strange, golden rain light shone warm and pretty over Oliver's books. I wondered if the sun had missed the books, had waited as long as it possibly cold to shine over those spines again. I knew how that felt, to love a story so much you didn't just want to read it, you wanted to feel it.

Over the summer I missed the periods of intense academic concentration that helped to relax me during term time. I liked to sit in the library to write essays, allowing my sense of time and personal identity to dissolve as the light dimmed outside the windows.

In Tereza's eyes, books were the emblems of a secret brotherhood. For she had but a single weapon against the world of crudity surrounding her: the books she took out of the municipal library, and above all, the novels.

No one can get reall drunk on a novle or a painting, but who can help getting drunk on Beethoven's night, Bartok's Sonata for two Pianos and percussion or the Beatles' White Album? He loved mozart as much as rock. He considered music a liberating force, it liberated him from lonliness, introversion, the dust of the library; it opened the door of hi body and allowed his soul to step out into the world to make friends, He loved to dance an regretted that Sabina did not share his passion

I could no longer pull wands, potions, and light sabers out of books, but when it came to research, give me a well-stocked library and I was a goddamned Merlin.

Choose courage over caution. Take time to visit libraries. Look for light in the darkness. Have faith in yourself. Know that love is what matters

He'd been happier in abandoned places, so long as they were quiet and had enough light to read by.

A sea of dreams trapped in a span of pressed pages

When I was a schoolboy in England, the old bound volumes of Kipling in the library had gilt swastikas embossed on their covers. The symbol's 'hooks' were left-handed, as opposed to the right-handed ones of the Nazi hakenkreuz, but for a boy growing up after 1945 the shock of encountering the emblem at all was a memorable one. I later learned that in the mid-1930s Kipling had caused this 'signature' to be removed from all his future editions. Having initially sympathized with some of the early European fascist movements, he wanted to express his repudiation of Hitlerism (or 'the Hun,' as he would perhaps have preferred to say), and wanted no part in tainting the ancient Indian rune by association. In its origin it is a Hindu and Jainas symbol for light, and well worth rescuing.

The librarian, whom I had never seen before, presided over the library like a watchdog, one of those poor dogs who are deliberately made vicious by being chained up and given little to eat; ot better, like the old, toothless cobra, pale because of centuries of darkness, who guards the king's treasure in the Jungle Book. Paglietta, poor woman, was little less than a lusus naturae: she was small, without breasts or hips, waxen, wilted, and monstrously myopic; she wore glasses so thick and concave that, looking at her head-on, her eyes, light blue, almost white, seemed very far away, stuck at the back of her cranium. She gave the impression of never having been young, although she was certainly not more than thirty, and of having been born there, in the shadows, in that vague odor of mildew and stale air.

The clear light of the library was slanting in through the glass-paneled doorway to my right, falling on the table between my tutor and me and on dust motes hung in the air. The tiny flecks drew my eye, and I watched as they dipped and swirled in invisible currents. "They are beautiful in the light, are they not?" my tutor asked. They were, catching the sun and shining like tiny stars themselves. "You know, there are just as many outside the sun's rays that are invisible," she said. Then, in the way of dreams, she lifted her hand into the air and moved a single dust mote into the light. "And you?" she asked. She lifted her hand again, just beyond the edge of the light, and I knew she held another mote and could move it as easily into the way of the sun, and I said, "No, thank you. I am content where I am.

Magic is like any other kind of strength. If you use too much of it, you have to wait for it to replenish. So if a dragon crashes through the library window in the next hour, you’ll have to save us.” “A dragon—” Edwin looked at him. Some of the irony was seeping through the edges. Robin grinned. “You sod. You really got my hopes up.

He considered music a liberating force: it liberated him from loneliness, introversion, the dust of the library; it opened the door of his body and allowed his soul to step out into the world and make friends.

Whenever we talk about darkness and light, the terms seem so abstract that many consider the answers to be found in meditation and yoga, but I’m here to tell you that the answers are in the books you will never read, waiting all your life in the libraries you ignored and the bookstores you didn’t visit. I’m here to tell you as well that you are your own Satan and evil can’t possibly interfere more in your life than what you’re already doing to yourself by remaining ignorant. Until you choose the light, darkness is your personal choice, and there’s no reason to feel any empathy for you.

But here's the thing- wherever I ended up, and however much trouble I was in, there was always a library. A place that was safe and warm and dry, where no one would judge me. Libraries were my only light in some very dark times.

Dewey Hall was the only building on campus not made of brick, and the tornado came for it in absolute maturity, no umbilical growth now but a strong slender lady hip-walking through campus--past the science hall, past English, jumping Old Main and the library with deliberate grace and lighting on the shallow rookf of Dewey, where Dad toiled alone.

Keep your life simple and stylish and earnest. Do good and donate your time and money to something you care about. Make people laugh. Be frank. Always give people a second chance—but rarely a third. Live light, travel light, and be light. Forget shit and move on. Make everyone you love feel loved. Waste not, want not. Reuse stuff. Stop trying to get a tan and straighten your hair—you’re just not made that way. Go to the movies, go to the library, go to the park. Try to make every day feel as close to a vacation as possible. Floss.

The queen-size bed has a wooden frame and a dark-orange duvet cover and pillows. The bedside tables on both sides are identically stocked: three books, a lamp and a glasses case. I wonder if this allows my parents to swap sides during the night. I turn on one of the lamps, lighting the room like a sexy library.

Academic masochism reflects a metaphysical prejudice that the truth should be a hard-won treasure, that what is read or learnt easily must therefore be flighty and inconsequential. The truth should be like a mount to be scaled, it is dangerous, obscure and demanding. Under the light of the library reading room, the academics' motto reads: the more a text makes me suffer, the truer it must be.

Wisdom is my religion. Books are my priest. Libraries are my temple. Enlightenment is my heaven. Love is my religion. Compassion is my priest. The world is my temple. The universe is my heaven. Truth is my religion. Conscience is my priest. Conviction is my temple. Virtue is my heaven. Freedom is my religion. Tolerance is my priest. Harmony is my temple. Peace is my heaven. Nature is my religion. Light is my priest. Time is my temple. Eternity is my heaven.

The chances of satisfying my renewed appetite for literary exchanges increased once I began to visit the library more frequently and make my way from the hotel to City Lights Bookstore at 261 Columbus Avenue. For all I was learning about the role its founder, Lawrence Ferlinghetti, had played in helping to nurture, promote, and sustain the talented souls who made the Beat Movement possible, City Lights became a kind of sacred space for me.

The rules for reading yourself to sleep are easier to follow than are the rules for staying awake while reading. Get into bed in a comfortable position, make sure the light is inadequate enough to cause slight eyestrain, choose a book that is either terribly difficult or terribly boring—in any event, one that you do not really care whether you read or not—and you will be asleep in a few minutes. Those who are experts in relaxing with a book do not have to wait for nightfall. A comfortable chair in the library will do any time

To the winter forest And nowhere to go This girl runs From all she knows The pressure rises to the top The pressure rises (it won't stop) They want your body They want your soul They want fake smiles That's rock and roll The wolves surrond you A fever dream The wolves surrond you So start the scream Howl, into the night, Howl, until the light, Howl, your turn to fight, Howl, just make it right Howl howl howl howl (Motherfucker) You can't fight fo ever You have to comply If your life isn't working You have to ask why Remember When we were young enough Not to fear tomorrow Or mourn yesterday And we were just Us And time was just Now And we were in Life Not rising through Like arms in a sleeve Because we had time We had time to breathe The bad times are here The bad times have come but life can't be over When it hasn't begun The lake shines and the water's cold All that glitters can turn to gold Silence the music to improve the tune Stop the fake smiles and howl at the moon Howl, into the night, Howl, until the light, Howl, your turn to fight, Howl, just make it right Howl howl howl howl

Ordinarily, when the great oak doors groaned open and someone entered Prat Library there would be a burst of sunlight, a bright harsh intrusion on the dim and quiet. But when Oriana Jeffers came through the doors, the light transmuted into moonbeams and star-shimmer, and all the books on the shelves fluttered awake. Oh joy, they whispered, a READER.

True,' I said, amazed. Until then I had thought each book spoke of the things, human or devine, that lie outside books. Now I realized that not infrequently books speak of books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then a place of a long, centuries-old murmuring, an imperceptible dialogue between one parchment and another, a living thing, a receptacle of powers not to be ruled by a human mind, a treasure of secrets emanated by many minds, surviving the death of those who had produced them or had been their conveyors.

And yes—scholars might care about the innovative brushwork and use of light, the historical influence and the unique significance in Dutch art. But not me. As my mother said all those years ago, my mother who loved the painting only from seeing it in a book she borrowed from the Comanche County Library as a child: the significance doesn’t matter. The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.

Ars Poetica II" I find, after all these years, I am a believer— I believe what the thunder and lightning have to say; I believe that dreams are real, and that death has two reprisals; I believe that dead leaves and black water fill my heart. I shall die like a cloud, beautiful, white, full of nothingness. The night sky is an ideogram, a code card punched with holes. It thinks it’s the word of what’s-to-come. It thinks this, but it’s only The Library of Last Resort, The reflected light of The Great Misunderstanding. God is the fire my feet are held to.

Marsh looked at me sideways, causing a brief stir of familiarity. "You liked the library?" "It was all I could do to keep her from bolting herself inside," Alistair told him. With mock indignation, I protested, "I never even touched a book. I walked through and walked out." "Her eyes were filled with an unnatural light," Alister confided in his cousin. "I feared for my safety.

A century from now,” he murmured as he lifted a page and examined it against the light, closing one eye, “almost all the contents of today’s libraries will have disappeared. But these books, printed two hundred or even five hundred years ago, will remain intact. We have the books, and the world, that we deserve. . . . Isn’t that so, Pablo?” “Lousy books printed on lousy paper.

Here was the same murmuring quiet, broken only by an occasional whisper, the faint thud of a librarian stamping books or overdue notices, the hushed riffle of newspaper or magazine pages being turned. He loved the quality of the light as much now as then. It slanted through the high windows, gray as a pigeon's wing on this rainy afternoon, a light that was somehow somnolent and dozey.

Is it possible that the Pentateuch could not have been written by uninspired men? that the assistance of God was necessary to produce these books? Is it possible that Galilei ascertained the mechanical principles of 'Virtual Velocity,' the laws of falling bodies and of all motion; that Copernicus ascertained the true position of the earth and accounted for all celestial phenomena; that Kepler discovered his three laws—discoveries of such importance that the 8th of May, 1618, may be called the birth-day of modern science; that Newton gave to the world the Method of Fluxions, the Theory of Universal Gravitation, and the Decomposition of Light; that Euclid, Cavalieri, Descartes, and Leibniz, almost completed the science of mathematics; that all the discoveries in optics, hydrostatics, pneumatics and chemistry, the experiments, discoveries, and inventions of Galvani, Volta, Franklin and Morse, of Trevithick, Watt and Fulton and of all the pioneers of progress—that all this was accomplished by uninspired men, while the writer of the Pentateuch was directed and inspired by an infinite God? Is it possible that the codes of China, India, Egypt, Greece and Rome were made by man, and that the laws recorded in the Pentateuch were alone given by God? Is it possible that Æschylus and Shakespeare, Burns, and Beranger, Goethe and Schiller, and all the poets of the world, and all their wondrous tragedies and songs are but the work of men, while no intelligence except the infinite God could be the author of the Pentateuch? Is it possible that of all the books that crowd the libraries of the world, the books of science, fiction, history and song, that all save only one, have been produced by man? Is it possible that of all these, the bible only is the work of God?

Once the government can demand of a publisher the names of the purchasers of his publications, the free press as we know it disappears. Then the spectre of a government agent will look over the shoulder of everyone who reads. The purchase of a book or pamphlet today may result in a subpoena tomorrow. Fear of criticism goes with every person into the bookstall. The subtle, imponderable pressures of the orthodox lay hold. Some will fear to read what is unpopular, what the powers-that-be dislike. When the light of publicity may reach any student, any teacher, inquiry will be discouraged. The books and pamphlets that are critical of the administration, that preach an unpopular policy in domestic or foreign affairs, that are in disrepute in the orthodox school of thought will be suspect and subject to investigation. The press and its readers will pay a heavy price in harassment. But that will be minor in comparison with the menace of the shadow which government will cast over literature that does not follow the dominant party line. If the lady from Toledo can be required to disclose what she read yesterday and what she will read tomorrow, fear will take the place of freedom in the libraries, book stores, and homes of the land. Through the harassment of hearings, investigations, reports, and subpoenas government will hold a club over speech and over the press." [United States v. Rumely, 345 U.S. 41 (1953)]

Eleanor closed her eyes and sighed, feeling and hearing and smelling the house; a flowering bush beyond the kitchen was heavy with scent, and the water in the brook moved sparkling over the stones. Far away, upstairs, perhaps in the nursery, a little eddy of wind gathered itself and swept along the floor, carrying dust. In the library the iron stairway swayed, and light glittered on the marble eyes of Hugh Crain; Theodora’s yellow shirt hung neat and unstained, Mrs. Dudley was setting the lunch table for five. Hill House watched, arrogant and patient. “I won’t go away,” Eleanor said up to the high windows.

I believe in movement. I believe in that lighthearted balloon, the world. I believe in midnight and the hour of noon. But what else do I believe in? Sometimes everything. Sometimes nothing. It fluctuates like light flitting over a pond. I believe in life, which one day each of us shall lose. When we are young we think we won’t, that we are different. As a child I thought I would never grow up, that I could will it so. And then I realized, quite recently, that I had crossed some line, unconsciously cloaked in the truth of my chronology. How did we get so damn old? I say to my joints, my iron-colored hair. Now I am older than my love, my departed friends. Perhaps I will live so long that the New York Public Library will be obliged to hand over the walking stick of Virginia Woolf. I would cherish it for her, and the stones in her pocket. But I would also keep on living, refusing to surrender my pen.

Afoot and light-hearted I take to the open road, Healthy, free, the world before me, The long brown path before me leading wherever I choose. Henceforth I ask not good-fortune, I myself am good-fortune, Henceforth I whimper no more, postpone no more, need nothing, Done with indoor complaints, libraries, querulous criticisms, Strong and content I travel the open road. The earth, that is sufficient, I do not want the constellations any nearer, I know they are very well where they are, I know they suffice for those who belong to them. (Still here I carry my old delicious burdens, I carry them, men and women, I carry them with me wherever I go, I swear it is impossible for me to get rid of them, I am fill’d with them, and I will fill them in return.)" -from "Song of the Open Road

She strolled between shelves, looking at titles, smiling as she met old friends - books she had read three times or five times or a dozen. Just a title, or an author's name, would be enough to summon up happy images. Strange creatures like phoenixes and psammeads, moving under smokey London daylight of a hundred years before, in company with groups of bemused children; starships and new worlds and the limitless vistas of interstellar night, outer space challenged but never conquered; princesses in silver and golden dresses, princes and heroes carrying swords like sharpened lines of light, monsters rising out of weedy tarns, wild creatures that talked and tricked one another...

When she had arranged her household affairs, she came to the library and bade me follow her. Then, with the mirror still swinging against her knees, she led me through the garden and the wilderness down to a misty wood. It being autumn, the trees were tinted gloriously in dusky bars of colouring. The rowan, with his amber leaves and scarlet berries, stood before the brown black-spotted sycamore; the silver beech flaunted his golden coins against my poverty; firs, green and fawn-hued, slumbered in hazy gossamer. No bird carolled, although the sun was hot. Marina noted the absence of sound, and without prelude of any kind began to sing from the ballad of the Witch Mother: about the nine enchanted knots, and the trouble-comb in the lady's knotted hair, and the master-kid that ran beneath her couch. Every drop of my blood froze in dread, for whilst she sang her face took on the majesty of one who traffics with infernal powers. As the shade of the trees fell over her, and we passed intermittently out of the light, I saw that her eyes glittered like rings of sapphires. ("The Basilisk")

I do not write every day. I write to the questions and issues before me. I write to deadlines. I write out of my passions. And I write to make peace with my own contradictory nature. For me, writing is a spiritual practice. A small bowl of water sits on my desk, a reminder that even if nothing is happening on the page, something is happening in the room--evaporation. And I always light a candle when I begin to write, a reminder that I have now entered another realm, call it the realm of the Spirit. I am mindful that when one writes, one leaves this world and enters another. My books are collages made from journals, research, and personal experience. I love the images rendered in journal entries, the immediacy that is captured on the page, the handwritten notes. I love the depth of ideas and perspective that research brings to a story, be it biological or anthropological studies or the insights brought to the page by the scholarly work of art historians. When I go into a library, I feel like I am a sleuth looking to solve a mystery. I am completely inspired by the pursuit of knowledge through various references. I read newpapers voraciously. I love what newspapers say about contemporary culture. And then you go back to your own perceptions, your own words, and weigh them against all you have brought together. I am interested in the kaleidoscope of ideas, how you bring many strands of thought into a book and weave them together as one piece of coherent fabric, while at the same time trying to create beautiful language in the service of the story. This is the blood work of the writer. Writing is also about a life engaged. And so, for me, community work, working in the schools or with grassroots conservation organizations is another critical component of my life as a writer. I cannot separate the writing life from a spiritual life, from a life as a teacher or activist or my life intertwined with family and the responsibilities we carry within our own homes. Writing is daring to feel what nurtures and breaks our hearts. Bearing witness is its own form of advocacy. It is a dance with pain and beauty.

I wrote these letters in the mornings before work, in the library, during my sessions of prolonged loitering in Commons, where I remained every evening until asked to leave by the janitor. It seemed my whole life was composed of these disjointed fractions of time, hanging around in one public place and then another, as if I were waiting for trains that never came. And, like one of those ghosts who are said to linger around depots late at night, asking passersby for the timetable of the Midnight Express that derailed twenty years before, I wandered from light to light until that dreaded hour when all the doors closed and, stepping from the world of warmth and people and conversation overheard, I felt the old familiar cold twist through my bones again and then it was all forgotten, the warmth, the lights; I had never been warm in my life, ever.

Until then I had thought each book spoke of the things, human or divine, that lie outside books. Now I realized that not infrequently books speak of books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then the place of a long, centuries -old murmuring, an imperceptible dialogue between one parchment and another, a living thing, a receptacle of powers not to be ruled by a human mind, a treasure of secrets emanated by many minds, surviving the death of those who had produced them or had been their conveyors.

José What now, José? The party’s over, the lights are off, the crowd’s gone, the night’s gone cold, what now, José? what now, you? you without a name, who mocks the others, you who write poetry who love, protest? what now, José? You have no wife, you have no speech you have no affection, you can’t drink, you can’t smoke, you can’t even spit, the night’s gone cold, the day didn’t come, the tram didn’t come, laughter didn’t come utopia didn’t come and everything ended and everything fled and everything rotted what now, José? what now, José? Your sweet words, your instance of fever, your feasting and fasting, your library, your gold mine, your glass suit, your incoherence, your hate—what now? Key in hand you want to open the door, but no door exists; you want to die in the sea, but the sea has dried; you want to go to Minas but Minas is no longer there. José, what now? If you screamed, if you moaned, if you played a Viennese waltz, if you slept, if you tired, if you died… But you don’t die, you’re stubborn, José! Alone in the dark like a wild animal, without tradition, without a naked wall to lean against, without a black horse that flees galloping, you march, José! José, where to?

That's what we've been taught, this is the underpinning of all European culture-this firm belief that there are no secrets that won't sooner or later come to light. Who was it that said it? Jesus? No, Pascal, I think it was… so naïve. But this faith has been nurtured for centuries; it has sprouted its own mythology: the cranes of Ibycus, manuscripts don't burn. An ontological faith in the fundamental knowability of every human deed. The certainty that, as they now teach journalism majors, you can find everything on the Internet. As if the Library of Alexandria never existed. Or the Pogruzhalsky arson, when the whole historical section of the Academy of Sciences' Public Library, more than six-hundred thousand volumes, including the Central Council archives from 1918, went up in flames. That was in the summer of 1964; Mom was pregnant with me already, and almost for an entire month afterward, as she made her way to work at the Lavra, she would get off the trolleybus when it got close to the university and take the subway the rest of the way: above ground, the stench from the site of the fire made her nauseous. Artem said there were early printed volumes and even chronicles in that section-our entire Middle Ages went up in smoke, almost all of the pre-Muscovite era. The arsonist was convicted after a widely publicized trial, and then was sent to work in Moldova's State Archives: the war went on. And we comforted ourselves with "manuscripts don't burn." Oh, but they do burn. And cannot be restored.

This is a place of mystery, Daniel, a sanctuary. Every book, every volume you see here, has a soul. The soul of the person who wrote it and of those who read it and lived and dreamed with it. Every time a book changes hands, every time someone runs his eyes down its pages, its spirit grows and strengthens. This place was already ancient when my father brought me here for the first time, many years ago. Perhaps as old as the city itself. Nobody knows for certain how long it has existed, or who created it. I will tell you what my father told me, though. When a library disappears, or a bookshop closes down, when a book is consigned to oblivion, those of us who know this place, its guardians, make sure that it gets here. In this place, books no longer remembered by anyone, books that are lost in time, live forever, waiting for the day when they will reach a new reader's hands. In the shop we buy and sell them, but in truth books have no owner. Every book you here has been somebody's best friend. Now they only have us, Daniel. Do you think you'll be able to keep such a secret?' My gaze was lost in the immensity of the place and its sorcery of light. I nodded, and my father smiled.

During the school year, I practically lived in Dongguk’s modern, glass-walled library, with its stacks of tantalizing books and its high-speed Internet access. It became my playground, my dining room, and sometimes my bedroom. I liked the library best late at night, when there were fewer students around to distract me. When I needed a break, I took a walk out to a small garden that had a bench overlooking the city. I often bought a small coffee from a vending machine for a few cents and just sat there for a while, staring into the sea of lights that was metropolitan Seoul. Sometimes I wondered how there could be so many lights in this place when, just thirty-five miles north of here, a whole country was shrouded in darkness. Even in the small hours of the morning, the city was alive with flashing signs and blinking transmission towers and busy roadways with headlights traveling along like bright cells pumping through blood vessels. Everything was so connected, and yet so remote. I would wonder: Where is my place out there? Was I a North Korean or a South Korean? Was I neither?

Q (Quiller-Couch) was all by himself my college education. I went down to the public library one day when I was seventeen looking for books on the art of writing, and found five books of lectures which Q had delivered to his students of writing at Cambridge. "Just what I need!" I congratulated myself. I hurried home with the first volume and started reading and got to page 3 and hit a snag: Q was lecturing to young men educated at Eton and Harrow. He therefore assumed his students − including me − had read Paradise Lost as a matter of course and would understand his analysis of the "Invocation to Light" in Book 9. So I said, "Wait here," and went down to the library and got Paradise Lost and took it home and started reading it and got to page 3, when I hit a snag: Milton assumed I'd read the Christian version of Isaiah and the New Testament and had learned all about Lucifer and the War in Heaven, and since I'd been reared in Judaism I hadn't. So I said, "Wait here," and borrowed a Christian Bible and read about Lucifer and so forth, and then went back to Milton and read Paradise Lost, and then finally got back to Q, page 3. On page 4 or 5, I discovered that the point of the sentence at the top of the page was in Latin and the long quotation at the bottom of the page was in Greek. So I advertised in the Saturday Review for somebody to teach me Latin and Greek, and went back to Q meanwhile, and discovered he assumed I not only knew all the plays by Shakespeare, and Boswell's Johnson, but also the Second books of Esdras, which is not in the Old Testament and not in the New Testament, it's in the Apocrypha, which is a set of books nobody had ever thought to tell me existed. So what with one thing and another and an average of three "Wait here's" a week, it took me eleven years to get through Q's five books of lectures.

The earliest storytellers were magi, seers, bards, griots, shamans. They were, it would seem, as old as time, and as terrifying to gaze upon as the mysteries with which they wrestled. They wrestled with mysteries and transformed them into myths which coded the world and helped the community to live through one more darkness, with eyes wide open and hearts set alight. "I can see them now, the old masters. I can see them standing on the other side of the flames, speaking in the voices of lions, or thunder, or monsters, or heroes, heroines, or the earth, or fire itself -- for they had to contain all voices within them, had to be all things and nothing. They had to have the ability to become lightning, to become a future homeland, to be the dreaded guide to the fabled land where the community will settle and fructify. They had to be able to fight in advance all the demons they would encounter, and summon up all the courage needed on the way, to prophesy about all the requisite qualities that would ensure their arrival at the dreamt-of land. "The old masters had to be able to tell stories that would make sleep possible on those inhuman nights, stories that would counter terror with enchantment, or with a greater terror. I can see them, beyond the flames, telling of a hero's battle with a fabulous beast -- the beast that is in the hero." "The storyteller's art changed through the ages. From battling dread in word and incantations before their people did in reality, they became the repositories of the people's wisdom and follies. Often, conscripted by kings, they became the memory of a people's origins, and carried with them the long line of ancestries and lineages. Most important of all, they were the living libraries, the keepers of legends and lore. They knew the causes and mutations of things, the herbs, trees, plants, cures for diseases, causes for wars, causes of victory, the ways in which victory often precipitates defeat, or defeat victory, the lineages of gods, the rites humans have to perform to the gods. They knew of follies and restitutions, were advocates of new and old ways of being, were custodians of culture, recorders of change." "These old storytellers were the true magicians. They were humanity's truest friends and most reliable guides. Their role was both simple and demanding. They had to go down deep into the seeds of time, into the dreams of their people, into the unconscious, into the uncharted fears, and bring shapes and moods back up into the light. They had to battle with monsters before they told us about them. They had to see clearly." "They risked their sanity and their consciousness in the service of dreaming better futures. They risked madness, or being unmoored in the wild realms of the interspaces, or being devoured by the unexpected demons of the communal imagination." "And I think that now, in our age, in the mid-ocean of our days, with certainties collapsing around us, and with no beliefs by which to steer our way through the dark descending nights ahead -- I think that now we need those fictional old bards and fearless storytellers, those seers. We need their magic, their courage, their love, and their fire more than ever before. It is precisely in a fractured, broken age that we need mystery and a reawoken sense of wonder. We need them to be whole again.