Like A Vase Quotes

He’s very pretty. For a human.” “He’s very broken,” said Magnus. “Like a lovely vase that someone has smashed. Only luck and skill can put it back together the way it was before.

Lost opportunities, lost possibilities, feelings we can never get back. That's part of what it means to be alive. But inside our heads - at least that's where I imagine it - there's a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in awhile, let in fresh air, change the water in the flower vases. In other words, you'll live forever in your own private library.

Relationships never break cleanly. Like a valuable vase, they are smashed and then glued back together, smashed and glued, smashed and glued until the pieces just don't fit together anymore.

Murderess is a strong word to have attached to you. It has a smell to it, that word - musky and oppressive, like dead flowers in a vase. Sometimes at night I whisper it over to myself: Murderess, Murderess. It rustles, like a taffeta skirt across the floor.

A person of high, rare mental gifts who is forced into a job which is merely useful is like a valuable vase decorated with the most beautiful painting and then used as a kitchen pot.

You know you're in love with somebody when you wake up next to them, comfortable despite your breath smelling like the week-old water at the bottom of a vase, when you are terribly excited to see them, to talk to them again, having missed them after all that sleep.

We were trying to make our lives easier, trying, with all our rules, to make life effortless. But a friction began to arise between Nothing and Something, in the morning the Nothing vase cast a Something shadow, like the memory of someone you've lost, what can you say about that, at night the Nothing light spilled from the guest room spilled under the Nothing door and stained the Something hallway, there's nothing to say.

..when a war ends, what does that look like exactly? do the cells in the body stop detonating themselves? does the orphanage stop screaming for its mother? when the sand in the desert has been melted down to glass and our reflection is not something we can stand to look at does the white flag make for a perfect blindfold? yesterday i was told a story about this little girl in Iraq, six-years-old, who cannot fall asleep because when she does she dreams of nothing but the day she watched her dog eat her neighbor's corpse. if you told her war is over do you think she can sleep?

Like freshly cut roses, I place life in a vase... of love.

Once upon a time, there was Candy and Dan. Things were very hot that year. All the wax was melting in the trees. He would climb balconies, climb everywhere, do anything for her, oh Danny boy. Thousands of birds, the tiniest birds, adorned her hair. Everything was gold. One night the bed caught fire. He was handsome and a very good criminal. We lived on sunlight and chocolate bars. It was the afternoon of extravagant delight. Danny the daredevil. Candy went missing. The days last rays of sunshine cruise like sharks. I want to try it your way this time. You came into my life really fast and I liked it. We squelched in the mud of our joy. I was wet-thighed with surrender. Then there was a gap in things and the whole earth tilted. This is the business. This, is what we're after. With you inside me comes the hatch of death. And perhaps I'll simply never sleep again. The monster in the pool. We are a proper family now with cats and chickens and runner beans. Everywhere I looked. And sometimes I hate you. Friday -- I didn't mean that, mother of the blueness. Angel of the storm. Remember me in my opaqueness. You pointed at the sky, that one called Sirius or dog star, but on here on earth. Fly away sun. Ha ha fucking ha you are so funny Dan. A vase of flowers by the bed. My bare blue knees at dawn. These ruffled sheets and you are gone and I am going to. I broke your head on the back of the bed but the baby he died in the morning. I gave him a name. His name was Thomas. Poor little god. His heart pounds like a voodoo drum.

It's turning the thunder into grace, knowing sometimes the break in your heart is like the hole in the flute. Sometimes it's the place where the music comes through.

Every one of us is losing something precious to us... Lost opportunities, lost possibilities, feelings we can never get back again. That's what part of it means to be alive. But inside our heads- at least that's where I imagine it- there's a litle room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in a while, let fresh air in, change the water in the flower vases. In other words, you'll live for ever in your own private library.

No amount of soul searching would fix my past. There was no magical Band-Aid I could stick on my heart, no special glue I could use to make myself whole again. I had shattered to pieces like a fragile vase on concrete; some fragments could be roughly cobbled back together, but many of my vital parts had simply turned to dust, pulverized and scattered by the first gust of wind.

In the morning, when the nothing vase casts a something shadow, like the memory of someone you've lost, what can you say about that?

Kintsugi is a pottery technique. When something breaks, like a vase, they glue it back together with melted gold. Instead of making the cracks invisible, they make them beautiful. To celebrate the history of the object. What it's been through. And I was just... Thinking of us like that. My heart full of gold veins, instead of cracks.

Life is like molten glass. It flows, it's flexible, it can be molded and shaped and...what do you say? Ah, yes. It holds vast potential. You have a number of uncertainties in your melt right now. But they will always be there in one form or another. Always. Unlike molten glass, life can't be fixed or frozen into a pretty vase and placed on a shelf to gather dust.

The Cloudy Vase Past time, I threw the flowers out, washed out the cloudy vase. How easily the old clearness leapt, like a practiced tiger, back inside it.

I like imagining your body is Saturn, my body ten thousand rings wrapped around you.

Some days my heart beats so fast my ribcage sounds like a fucking railroad track and my breath is a train I just can't catch.

Sometimes when things break, you can hold them together for a while with string or glue or tape. Sometimes, nothing will hold what’s broken, and the pieces fly all over, and though you think you might be able to find them all again, one or two will always be missing. I flew apart. I broke. I shattered like a crystal vase dropped on a concrete floor, and pieces of me scattered all over. Some of them I was glad to see go. Some I never wanted to see again.

Music. A flower in a vase on the tray. A January rose, it wouldn't last long, all big and full-blown like that. He loved things like this, fragile, that wouldn't last. She touched its silver-mauve petals, a hundred layers like an old-fashioned petticoat. The Japanese would say that's their elegance, the brevity of their beauty.

Every one of us is losing something precious to us. Lost opportunities, lost possibilities, feelings we can never get back again. That’s what part of it means to be alive. But inside our heads — at least that’s where I imagine it — there’s a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in a while, let fresh air in, change the water in the flower vases. In other words, you’ll live for ever in your own private library.

Will interrupted. "Henry," he said, "you're on fire. You do know that, don't you?" "Oh, yeas," Henry said eagerly. The flames were now nearly to his shoulder. "I've been working like a man possessed all day. Charlotte, did you hear what I said about the Sensor?" Charlotte dropped her hand from her mouth. "Henry!" she shrieked. "Your arm!" Henry glanced down at his arm, and his mouth dropped open. "Bloody hell!" was all he had time to say before Will, exhibiting a starling presence of mind, stood up, seized the vase of flowers off the table, and hurled the contents over Henry.

In that moment her heart fell out of her chest. Like the glass filled vase he had brought to her, it dropped. It was shattered into a million small pieces.

Jealousy smells like the water in the bottom of a flower vase after the flowers have died.

It’s a lonely thing carrying the body of someone dead and loved. Like a vase you know will never again hold flowers. I

When I first met you, I thought: There is a girl in a million. She isn't like these other silly little fools who believe everything their mammas tell them and act on it, no matter how they feel. And conceal all their feelings and desires and little heartbreaks behind a lot of sweet words. I thought: Miss O'Hara is a girl of rare spirit. She knows what she wants and she doesn't mind speaking her mind–or throwing vases.

When I look at you, I see something broken that isn’t worth fixing. And you look at me like I’m a cheap thing to replace the expensive one that’s been stolen from you. See, we’re all vases. And you’re the one scattered on the floor, shattered beyond repair. So I’ll let someone else pick you up. It’s really that simple. Have fun with your temporary glue.

Alec did not like new people. Whenever new Shadowhunters arrived from Idris, Alec would mysteriously slope off. Once Isabelle had found him lurking behind a large vase, claiming he got lost trying to find the training room.

Like a vase, a heart breaks once. After that, it just yields to its flaws.

Having a breakdown was like breaking a vase and then gluing it back together. You could never trust yourself to handle that vase again with any surety. You couldn't put a flower in it because flowers need water and water might dissolve the glue. Am I crazy, then?

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers and with no divine help, they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

On her way back, she scoops up forgiveness like a bouquet, sniffs it deep and arranges it in a vase. She sets forgiveness down, shining in the middle of everything.

So pretty with her long hair and bright eyes. And so pure and damaged at the same time, like a priceless vase threaded with cracks.

Everything I am, I've made myself. Maybe you have all shaped me, molded me like a vase, but when all is said and done, when everyone has chipped away their pieces, I will not break.

-You know how to call me although such a noise now would only confuse the air Neither of us can forget the steps we danced the words you stretched to call me out of dust Yes I long for you not just as a leaf for weather or vase for hands but with a narrow human longing that makes a man refuse any fields but his own I wait for you at an unexpected place in your journey like the rusted key or the feather you do not pick up.- -I WILL NEVER FIND THE FACES FOR ALL GOODBYES I'VE MADE.- For Anyone Dressed in Marble The miracle we all are waiting for is waiting till the Parthenon falls down and House of Birthdays is a house no more and fathers are unpoisoned by renown. The medals and the records of abuse can't help us on our pilgrimage to lust, but like whips certain perverts never use, compel our flesh in paralysing trust. I see an orphan, lawless and serene, standing in a corner of the sky, body something like bodies that have been, but not the scar of naming in his eye. Bred close to the ovens, he's burnt inside. Light, wind, cold, dark -- they use him like a bride. I Had It for a Moment I had it for a moment I knew why I must thank you I saw powerful governing men in black suits I saw them undressed in the arms of young mistresses the men more naked than the naked women the men crying quietly No that is not it I'm losing why I must thank you which means I'm left with pure longing How old are you Do you like your thighs I had it for a moment I had a reason for letting the picture of your mouth destroy my conversation Something on the radio the end of a Mexican song I saw the musicians getting paid they are not even surprised they knew it was only a job Now I've lost it completely A lot of people think you are beautiful How do I feel about that I have no feeling about that I had a wonderful reason for not merely courting you It was tied up with the newspapers I saw secret arrangements in high offices I saw men who loved their worldliness even though they had looked through big electric telescopes they still thought their worldliness was serious not just a hobby a taste a harmless affectation they thought the cosmos listened I was suddenly fearful one of their obscure regulations could separate us I was ready to beg for mercy Now I'm getting into humiliation I've lost why I began this I wanted to talk about your eyes I know nothing about your eyes and you've noticed how little I know I want you somewhere safe far from high offices I'll study you later So many people want to cry quietly beside you

Relationships never break cleanly. Like a valuable vase, they are smashed and then glued back together, smashed and glued, smashed and glued until the pieces just don’t fit together anymore.

Lord Peter's library was one of the most delightful bachelor rooms in London. Its scheme was black and primrose; its walls were lined with rare editions, and its chairs and Chesterfield sofa suggested the embraces of the houris. In one corner stood a black baby grand, a wood fire leaped on a wide old-fashioned hearth, and the Sèvres vases on the chimneypiece were filled with ruddy and gold chrysanthemums. To the eyes of the young man who was ushered in from the raw November fog it seemed not only rare and unattainable, but friendly and familiar, like a colourful and gilded paradise in a mediæval painting

I worship you like night's pavilion, O vase of sadness, o great silent one, And love you more since you escape from me, And since you seem, my night's sublimity, To mock me and increase the leagues that lie Between my arms and blue immensity. I move to the attack, besiege, assail, Like eager worms after a funeral. I even love, o beast implacable, The coldness which makes you more beautiful.

In Plaster I shall never get out of this! There are two of me now: This new absolutely white person and the old yellow one, And the white person is certainly the superior one. She doesn't need food, she is one of the real saints. 
At the beginning I hated her, she had no personality -- She lay in bed with me like a dead body 
And I was scared, because she was shaped just the way I was 
 Only much whiter and unbreakable and with no complaints. I couldn't sleep for a week, she was so cold. I blamed her for everything, but she didn't answer. 
I couldn't understand her stupid behavior! 
When I hit her she held still, like a true pacifist. 
Then I realized what she wanted was for me to love her: She began to warm up, and I saw her advantages. 

Without me, she wouldn't exist, so of course she was grateful. 
I gave her a soul, I bloomed out of her as a rose 
Blooms out of a vase of not very valuable porcelain, And it was I who attracted everybody's attention, 
Not her whiteness and beauty, as I had at first supposed. 
I patronized her a little, and she lapped it up -- 
You could tell almost at once she had a slave mentality. 

I didn't mind her waiting on me, and she adored it. 
In the morning she woke me early, reflecting the sun 
From her amazingly white torso, and I couldn't help but notice 
Her tidiness and her calmness and her patience: She humored my weakness like the best of nurses, 
Holding my bones in place so they would mend properly. In time our relationship grew more intense. 

She stopped fitting me so closely and seemed offish. 
I felt her criticizing me in spite of herself, 
As if my habits offended her in some way. She let in the drafts and became more and more absent-minded. 
And my skin itched and flaked away in soft pieces 
Simply because she looked after me so badly. Then I saw what the trouble was: she thought she was immortal. She wanted to leave me, she thought she was superior, 
And I'd been keeping her in the dark, and she was resentful -- Wasting her days waiting on a half-corpse! 
And secretly she began to hope I'd die. Then she could cover my mouth and eyes, cover me entirely, 
And wear my painted face the way a mummy-case Wears the face of a pharaoh, though it's made of mud and water. 

I wasn't in any position to get rid of her. She'd supported me for so long I was quite limp -- I had forgotten how to walk or sit, So I was careful not to upset her in any way 
Or brag ahead of time how I'd avenge myself. Living with her was like living with my own coffin: Yet I still depended on her, though I did it regretfully. I used to think we might make a go of it together -- 
After all, it was a kind of marriage, being so close. 
Now I see it must be one or the other of us. She may be a saint, and I may be ugly and hairy, 
But she'll soon find out that that doesn't matter a bit. I'm collecting my strength; one day I shall manage without her, 
And she'll perish with emptiness then, and begin to miss me. --written 26 Feburary 1961

Every one of us is losing something precious to us. Lost opportunities, lost possibilities, feelings we can never get back again. That's part of what it means to be alive. But inside our heads--at least that's where I imagine it--there's a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in a while, let in fresh air, change the water in the flower vases. In other words, you'll live forever in your own private library.

I looked at the faces around me and I knew mine was like theirs. Faces with the blood drained away, tight faces, worried, lost. Faces like flowers torn from their roots and stuffed into a pretty vase, the colours draining fast. I had to get away from that town.

I wish I could explain how I feel, but nothing can explain this moment. Not a vase of stars. Not a book. Not a song. Not even a poem. Nothing can explain the moment when the woman you would give your life for sees her daughter for the very first time. Tears are streaming down her face. She’s stroking our baby girl’s cheek, smiling. Crying. Laughing. “I don’t want to count her fingers or toes,” Lake whispers. “I don’t care if she has two toes or three fingers or fifty feet. I love her so much, Will. She’s perfect.” She is perfect. So perfect. “Just like her mom,” I say. I lean my head against Lake’s and we just stare. We stare at the daughter who is so much more than I could have asked for. The daughter who is so much more than I dreamt of. So much more than I ever thought I would have. This girl. This baby girl is my life. Her mother is my life. These girls are both my life. I reach down and pick up her hand. Her tiny fingers reflexively wrap around my pinky and I can’t choke back my tears any longer. “Hey, Julia. It’s me. It’s your daddy.

Trust is like a vase...once it's broken, though it can be fixed the vase will never be the same

The Wait It seemed like years before I picked a bouquet of kisses off her mouth and put them into a dawn-colored vase in my heart. But the wait was worth it. Because I was in love.

The people I love the best jump into work head first without dallying in the shallows and swim off with sure strokes almost out of sight. They seem to become natives of that element, the black sleek heads of seals bouncing like half submerged balls. I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck to move things forward, who do what has to be done, again and again. I want to be with people who submerge in the task, who go into the fields to harvest and work in a row and pass the bags along, who stand in the line and haul in their places, who are not parlor generals and field deserters but move in a common rhythm when the food must come in or the fire be put out. The work of the world is common as mud. Botched, it smears the hands, crumbles to dust. But the thing worth doing well done has a shape that satisfies, clean and evident. Greek amphoras for wine or oil, Hopi vases that held corn, are put in museums but you know they were made to be used. The pitcher cries for water to carry and a person for work that is real.

I looked at the ornaments on the desk. Everything standard and all copper. A copper lamp, pen set and pencil tray, a glass and copper ashtray with a copper elephant on the rim, a copper letter opener, a copper thermos bottle on a copper tray, copper corners on the blotter holder. There was a spray of almost copper-colored sweet peas in a copper vase. It seemed like a lot of copper.

To a Vase "How do I break thee? Let me count the ways. I break thee if thou art at any height My paw can reach, when, smarting from some slight, I sulk, or have one of my crazy days. I break thee with an accidental graze Or twitch of tail, if I should take a fright. I break thee out of pure and simple spite The way I broke the jar of mayonnaise. I break thee if a bug upon thee sits. I break thee if I'm in a playful mood, And then I wrestle with the shiny bits. I break thee if I do not like my food. And if someone they shards together fits, I'll break thee once again when thou art glued.

I learned that life can change in an instant. It can flip over like a box of Styrofoam peanuts, and you're left scrambling to gather enough insulation to survive, before it all blows away. After that, you sink down into what's left, like a fragile glass vase with a crack in it, trying to avoid further damage. One bold year is worth a dozen timid ones....

When the Devil was a woman, When Lilith wound Her ebony hair in heavy braids, And framed Her pale features all 'round With Botticelli's tangled thoughts, When she, smiling softly, Ringed all her slim fingers In golden bands with brilliant stones, When she leafed through Villiers And loved Huysmans, When she fathomed Maeterlinck's silence And bathed her Soul In Gabriel d'Annunzio's colors, She even laughed And as she laughed, The little princess of serpents sprang Out of her mouth. Then the most beautiful of she-devils Sought after the serpent, She seized the Queen of Serpents With her ringed finger, So that she wound and hissed Hissed, hissed And spit venom. In a heavy copper vase; Damp earth, Black damp earth She scattered upon it. Lightly her great hands caressed This heavy copper vase All around, Her pale lips lightly sang Her ancient curse. Like a children's rhyme her curses chimed, Soft and languid Languid as the kisses, That the damp earth drank From her mouth, But life arose in the vase, And tempted by her languid kisses, And tempted by those sweet tones, From the black earth slowly there crept, Orchids - When the most beloved Adorns her pale features before the mirror All 'round with Botticelli's adders, There creep sideways from the copper vase, Orchids- Devil's blossoms which the ancient earth, Wed by Lilith's curse To serpent's venom, has borne to the light Orchids- The Devil's blossoms- "The Diary Of An Orange Tree

Stars are attributed w/ intelligence they don't have, beauty they haven't worked for, loyaly & love they are incapable of reciprocating, and strength they do not possess. They are treated like a beautiful vase of cut flowers. When wilted, simply replaced w/ new blooms.

Katherine is the master of anger; she dominates anger. She takes anger in her hands and twists its neck, ripping its head off. She throws anger against the wall and stomps it to death. Her voice rises, it changes, it conjures up ghosts and cusses in a spitting Irish brogue. Then, when she's tapped out empty, she picked anger up between her a thumb and a forefinger and carries it outside and drops it in the trash. On her way back, she scoops up forgiveness like a bouquet, sniffs it deep and arranges it in a vase. She sets forgiveness down, shining in the middle of everything.

The Death of Allegory I am wondering what became of all those tall abstractions that used to pose, robed and statuesque, in paintings and parade about on the pages of the Renaissance displaying their capital letters like license plates. Truth cantering on a powerful horse, Chastity, eyes downcast, fluttering with veils. Each one was marble come to life, a thought in a coat, Courtesy bowing with one hand always extended, Villainy sharpening an instrument behind a wall, Reason with her crown and Constancy alert behind a helm. They are all retired now, consigned to a Florida for tropes. Justice is there standing by an open refrigerator. Valor lies in bed listening to the rain. Even Death has nothing to do but mend his cloak and hood, and all their props are locked away in a warehouse, hourglasses, globes, blindfolds and shackles. Even if you called them back, there are no places left for them to go, no Garden of Mirth or Bower of Bliss. The Valley of Forgiveness is lined with condominiums and chain saws are howling in the Forest of Despair. Here on the table near the window is a vase of peonies and next to it black binoculars and a money clip, exactly the kind of thing we now prefer, objects that sit quietly on a line in lower case, themselves and nothing more, a wheelbarrow, an empty mailbox, a razor blade resting in a glass ashtray. As for the others, the great ideas on horseback and the long-haired virtues in embroidered gowns, it looks as though they have traveled down that road you see on the final page of storybooks, the one that winds up a green hillside and disappears into an unseen valley where everyone must be fast asleep.

The gusty wind Khazri swept through Baku, scouring every crevice, leaving behind air so pristine that it sparkled in the ginger sun like my mama’s favorite crystal vase.

Once, she’d loved to receive flowers. Now it was like being handed a series of tasks: Find the vase. Cut the stems. Arrange them like so.

I miss you, and I’m sick of treating this like a crystal vase I’m afraid to tamper with in case it breaks.

I'm sorry, but -I'm sorry!' I yelped and skipped backward as Gorg advanced on me. 'You were given bad information. Probably some human's fault.' I AM PRINCIPAL ANGER COORDINATOR ASSOCIATE-OF-THE-MONTH GORG FOUR-GORG! HUMANS WILL GIVE ME BAD INFORMATION AT THEIR PERIL!' He didn't look like a principal. He looked like something Hercules ought to be wrestling on the side of a vase.

At the time I attended a private Catholic school called Maryville College. I was the champion of the Maryville sports day every single year and my mother won the mom's trophy every single year. Why? Because she was always chasing me to kick my ass and I was always running not to get my ass kicked. Nobody ran like me and my mom. She wasn't one of those "Come over here and get your hiding [beating]" type of moms. She delivered to you free of charge. She was a thrower too. Whatever was next to her was coming at you. If it was something breakable, I had to catch it and put it down. If it broke, that would be my fault too and the ass-kicking would be that much worse. If she threw a vase at me, I'd had to catch it, put it down and then run. In a split-second I'd have to think "Is it valuable? Yes. Is it breakable? Yes. Catch it, put it down. Now run!" We had a very Tom and Jerry relationship, me and my mom. She was the strict disciplinarian, I was naughty as shit.

Through my attachments, I was dependent on my relationships to fulfill my needs. I allowed those relationships to define my happiness or my sadness, my fulfillment or my emptiness, my security, and even my self-worth. And so, like the vase placed where it will inevitably fall, through those dependencies I set myself up for disappointment. I set myself up to be broken.

Amphora,” he murmured against the wide, sweet curve of her lips. His hands slid over the wide, sweet curve of her hips, cupping smoothness cool and solid, timeless and graceful as the swell of ancient pottery, promising abundance. “Like a Grecian vase. God, you’ve got the most beautiful arse!” “Jug-butt, huh?

When You Return Fallen leaves will climb back into trees. Shards of the shattered vase will rise and reassemble on the table. Plastic raincoats will refold into their flat envelopes. The egg, bald yolk and its transparent halo, slide back in the thin, calcium shell. Curses will pour back into mouths, letters un-write themselves, words siphoned up into the pen. My gray hair will darken and become the feathers of a black swan. Bullets will snap back into their chambers, the powder tamped tight in brass casings. Borders will disappear from maps. Rust revert to oxygen and time. The fire return to the log, the log to the tree, the white root curled up in the un-split seed. Birdsong will fly into the lark’s lungs, answers become questions again. When you return, sweaters will unravel and wool grow on the sheep. Rock will go home to mountain, gold to vein. Wine crushed into the grape, oil pressed into the olive. Silk reeled in to the spider’s belly. Night moths tucked close into cocoons, ink drained from the indigo tattoo. Diamonds will be returned to coal, coal to rotting ferns, rain to clouds, light to stars sucked back and back into one timeless point, the way it was before the world was born, that fresh, that whole, nothing broken, nothing torn apart.

Relationships sometimes break like a falling vase into fifty pieces. And when you glue the vase back together, you realize it has lost the luster and pristine appearance that will never return. Now you have two choices. Keep it as it is or throw it away.

The clerk tripped on the carpet, hit a window and went through, carrying with him a vase which had been on the sill. His skull broke like the vase and the vase broke like his skull, and both burst forth water mainly, and from the vase some flowers. If I could choose a death I’d make it something like that, except I’d add a good woman and some lard.

Like a broken vase does not fear of breaking once more, my broken heart is not affected by your hurting words anymore!

Now he reduced his progress to the rhythm of his boots -- he walked across the land until he came to the sea. Everything that impeded him had to be outweighed, even if only by a fraction, by all that drove him on. In one pan of the scales, his wound, thirst, the blister, tiredness, the heat, the aching in his feet and legs, the Stukas, the distance, the Channel; in the other, I'll wait for you, and the memory of when she had said it, which he had come to treat like a sacred site. Also, the fear of capture. His most sensual memories -- their few minutes in the library, the kiss in Whitehall -- was bleached colorless through overuse. He knew by heart certain passages from her letters, he had revisited their tussle with the vase by the fountain, he remembered the warmth from her arm at the dinner when the twins went missing. These memories sustained him, but not so easily. Too often they reminded him of where he was when he last summoned them. They lay on the far side of a great divide in time, as significant as B.C. and A.D. Before prison, before war, before the sight of a corpse became a banality. But these heresies died when he read her last letter. He touched his breast pocket. It was a kind of genuflection. Still there. Here was something new on the scales. That he could be cleared had all the simplicity of love. Merely tasting the possibility reminded him of how much had narrowed and died. His taste for life, no less, all the old ambitions and pleasures. The prospect was of rebirth, a triumphant return.

I’m trying to fix a problem I caused, not start more of them.” “Then fix what actually matters here, and spoiler warning, it’s not the vase.” “I…” I lose the rest of my sentence. “What was the point of going back to rehab if you were only going to start drinking again?” My heart feels like someone split it apart with the jaws of life. “I had lost my reason for getting sober in the first place.” Her brows furrow. “What? Money? Hockey? The will to live a normal life?” “You, Lana. I lost you.

The moment I fell, my wings wilted like roses left too long in the vase. The misery of the bare back is to live after flight, to be the low that will never again rise. “To live on land is to live in a dimming station, but to fly above, everything sparkles, everything is endlessly crystal. Even the dry dirt improves to jewel when you can be the wings over it. “To be removed from flight is to be removed from the comet lines, the star-soaked song. How can I go on from that? How can I be something of value when I’ve lost my most valuable me? Land is my forever now, my thoroughly ended heaven. No sky will have me, no God either. “I am the warning to all little children before bedtime. Say your prayers, be done with sin, lest you become the devil, the one too sunk, no save will have him.” Dad

Mungojerrie and Rumpleteazer were a very notorious couple of cats. As knockabout clowns, quick-change comedians, Tight-rope walkers and acrobats They had an extensive reputation. [...] When the family assembled for Sunday dinner, With their minds made up that they wouldn’t get thinner On Argentine joint, potatoes and greens, And the cook would appear from behind the scenes And say in a voice that was broken with sorrow "I'm afraid you must wait and have dinner tomorrow! For the joint has gone from the oven like that!" Then the family would say: "It's that horrible cat! It was Mungojerrie – or Rumpleteazer!" - And most of the time they left it at that. Mungojerrie and Rumpleteazer had a wonderful way of working together. And some of the time you would say it was luck And some of the time you would say it was weather. They would go through the house like a hurricane, And no sober person could take his oath Was it Mungojerrie – or Rumpleteazer? Or could you have sworn that it mightn't be both? And when you heard a dining room smash Or up from the pantry there came a loud crash Or down from the library came a loud ping From a vase which was commonly said to be Ming Then the family would say: "Now which was which cat? It was Mungojerrie! And Rumpleteazer!" And there's nothing at all to be done about that!

Adeline is sixteen now, and everyone speaks of her as if she is a summer bloom, something to be plucked, and propped within a vase, intended only to flower and then to rot. Like Isabelle, who dreams of family instead of freedom, and seems content to briefly blossom and then wither. No, Adeline has decided she would rather be a tree, like Estele. If she must grow roots, she would rather be left to flourish wild instead of pruned, would rather stand alone, allowed to grow beneath the open sky. Better that than firewood, cut down just to burn in someone else’s hearth.

Adeline is sixteen now, and everyone speaks of her as if she is a summer bloom, something to be plucked, and propped within a vase, intended only to flower and then to rot. Like Isabelle, who dreams of family instead of freedom, and seems content to briefly blossom and then wither. No, Adeline has decided she would rather be a tree, like Estele. If she must grow roots, she would rather be left to flourish wild instead of pruned, would rather stand alone, allowed to grow beneath the open sky.

When she had packed all the artifacts that made up their personal history into liquor store boxes, the house became strictly a feminine place. She stood with her hands on her hips, stoically accepting the absence of old Boston Celtics coasters and the tangle of fishing poles, the old dartboard from a Scots pub, the toolbox and downhill skis, the silky patterned ties which sat in the base of one box like a writing mass of snakes. Without these things, one tended to notice the bright eyelet curtains, the vase filled with yawning crocuses, a needlepoint pillow ... Overall, the house looked much like her apartment had eight years ago, before she had met him.

At the center of the bouquet is a monstrous peony, probably purchased on sale at the supermarket. By Tuesday its curling petals had begun to collect at the bottom of the vase, infusing the room with the faint but unmistakable sweet odor of corruption and imminent death. ... In Tick's opinion there was something extravagantly excessive about the peony from the start, as if God had intended so suggest with this particular bloom that you could have too much of a good thing. The swiftness with which the fallen petals bean to stink drove the point home in case anybody missed it. As a rule, Tick leans toward believing that there is no God, but she isn't so sure at times like this, when pockets of meaning emerge so clearly that they feel like divine communication.

From his beach bag the man took an old penknife with a red handle and began to etch the signs of the letters onto nice flat pebbles. At the same time, he spoke to Mondo about everything there was in the letters, about everything you could see in them when you looked and when you listened. He spoke about A, which is like a big fly with its wings pulled back; about B, which is funny, with its two tummies; or C and D, which are like the moon, a crescent moon or a half-full moon; and then there was O, which was the full moon in the black sky. H is high, a ladder to climb up trees or to reach the roofs of houses; E and F look like a rake and a shovel; and G is like a fat man sitting in an armchair. I dances on tiptoes, with a little head popping up each time it bounces, whereas J likes to swing. K is broken like an old man, R takes big strides like a soldier, and Y stands tall, its arms up in the air, and it shouts: help! L is a tree on the river's edge, M is a mountain, N is for names, and people waving their hands, P is asleep on one paw, and Q is sitting on its tail; S is always a snake, Z is always a bolt of lightning, T is beautiful, like the mast on a ship, U is like a vase, V and W are birds, birds in flight; and X is a cross to help you remember.

There was a small glass vase between us, three gladioli in a few ounces of water. One of the gladioli had dropped a petal- brushstroke of purple on fine white cloth. Rinpoche drank the last sip of his tea, then set the cup aside, took the petal with his thumb and second finger, placed it on the middle of the saucer in front of him, and turned the cup upside down to cover it. "I feel a lesson coming on," I said... "The flower is the good inside every person," he said. "The cup is like a wall, to protect. Many people have that wall." "Armor" I said. He nodded. "Why?" "Because to live without the cup means you must feel the world as the world really is.

West’s mouth slid from hers and followed the line of her throat. Finding the throb of her pulse, he kissed and nuzzled it ardently. “You’re not a possession,” he said raggedly. “You can’t be passed from one man to another like a painting or an antique vase.” Her voice was faint. “That’s not how it is.” “Has he told you he wants you?” “Not the way you mean. He . . . he’s a gentleman . . .” “I want you with my entire body.” West dragged his mouth over hers, shaping her lips before settling in for a rough and ardent kiss. He hitched her up against him until her toes barely touched the floor. “You’re all I think about. You’re all I see. You’re the center of a star, and the force of gravity keeps pulling me closer, and I don’t give a damn that I’m about to be incinerated.” He rested his forehead against hers, panting. “That’s what he should tell you.

Hypercritical, Shaming Parents Hypercritical and shaming parents send the same message to their children as perfectionistic parents do - that they are never good enough. Parents often deliberately shame their children into minding them without realizing the disruptive impact shame can have on a child's sense of self. Statements such as "You should be ashamed of yourself" or "Shame on you" are obvious examples. Yet these types of overtly shaming statements are actually easier for the child to defend against than are more subtle forms of shaming, such as contempt, humiliation, and public shaming. There are many ways that parents shame their children. These include belittling, blaming, contempt, humiliation, and disabling expectations. -BELITTLING. Comments such as "You're too old to want to be held" or "You're just a cry-baby" are horribly humiliating to a child. When a parent makes a negative comparison between his or her child and another, such as "Why can't you act like Jenny? See how she sits quietly while her mother is talking," it is not only humiliating but teaches a child to always compare himself or herself with peers and find himself or herself deficient by comparison. -BLAMING. When a child makes a mistake, such as breaking a vase while rough-housing, he or she needs to take responsibility. But many parents go way beyond teaching a lesson by blaming and berating the child: "You stupid idiot! Do you think money grows on trees? I don't have money to buy new vases!" The only thing this accomplishes is shaming the child to such an extent that he or she cannot find a way to walk away from the situation with his or her head held high. -CONTEMPT. Expressions of disgust or contempt communicate absolute rejection. The look of contempt (often a sneer or a raised upper lip), especially from someone who is significant to a child, can make him or her feel disgusting or offensive. When I was a child, my mother had an extremely negative attitude toward me. Much of the time she either looked at me with the kind of expectant expression that said, "What are you up to now?" or with a look of disapproval or disgust over what I had already done. These looks were extremely shaming to me, causing me to feel that there was something terribly wrong with me. -HUMILIATION. There are many ways a parent can humiliate a child, such as making him or her wear clothes that have become dirty. But as Gershen Kaufman stated in his book Shame: The Power of Caring, "There is no more humiliating experience than to have another person who is clearly the stronger and more powerful take advantage of that power and give us a beating." I can personally attest to this. In addition to shaming me with her contemptuous looks, my mother often punished me by hitting me with the branch of a tree, and she often did this outside, in front of the neighbors. The humiliation I felt was like a deep wound to my soul. -DISABLING EXPECTATIONS. Parents who have an inordinate need to have their child excel at a particular activity or skill are likely to behave in ways that pressure the child to do more and more. According to Kaufman, when a child becomes aware of the real possibility of failing to meet parental expectations, he or she often experiences a binding self-consciousness. This self-consciousness - the painful watching of oneself - is very disabling. When something is expected of us in this way, attaining the goal is made harder, if not impossible. Yet another way that parents induce shame in their children is by communicating to them that they are a disappointment to them. Such messages as "I can't believe you could do such a thing" or "I am deeply disappointed in you" accompanied by a disapproving tone of voice and facial expression can crush a child's spirit.

What is the use of beauty in woman? Provided a woman is physically well made and capable of bearing children, she will always be good enough in the opinion of economists. What is the use of music? -- of painting? Who would be fool enough nowadays to prefer Mozart to Carrel, Michael Angelo to the inventor of white mustard? There is nothing really beautiful save what is of no possible use. Everything useful is ugly, for it expresses a need, and man's needs are low and disgusting, like his own poor, wretched nature. The most useful place in a house is the water-closet. For my part, saving these gentry's presence, I am of those to whom superfluities are necessaries, and I am fond of things and people in inverse ratio to the service they render me. I prefer a Chinese vase with its mandarins and dragons, which is perfectly useless to me, to a utensil which I do use, and the particular talent of mine which I set most store by is that which enables me not to guess logogriphs and charades. I would very willingly renounce my rights as a Frenchman and a citizen for the sight of an undoubted painting by Raphael, or of a beautiful nude woman, -- Princess Borghese, for instance, when she posed for Canova, or Julia Grisi when she is entering her bath. I would most willingly consent to the return of that cannibal, Charles X., if he brought me, from his residence in Bohemia, a case of Tokai or Johannisberg; and the electoral laws would be quite liberal enough, to my mind, were some of our streets broader and some other things less broad. Though I am not a dilettante, I prefer the sound of a poor fiddle and tambourines to that of the Speaker's bell. I would sell my breeches for a ring, and my bread for jam. The occupation which best befits civilized man seems to me to be idleness or analytically smoking a pipe or cigar. I think highly of those who play skittles, and also of those who write verse. You may perceive that my principles are not utilitarian, and that I shall never be the editor of a virtuous paper, unless I am converted, which would be very comical. Instead of founding a Monthyon prize for the reward of virtue, I would rather bestow -- like Sardanapalus, that great, misunderstood philosopher -- a large reward to him who should invent a new pleasure; for to me enjoyment seems to be the end of life and the only useful thing on this earth. God willed it to be so, for he created women, perfumes, light, lovely flowers, good wine, spirited horses, lapdogs, and Angora cats; for He did not say to his angels, 'Be virtuous,' but, 'Love,' and gave us lips more sensitive than the rest of the skin that we might kiss women, eyes looking upward that we might behold the light, a subtile sense of smell that we might breathe in the soul of the flowers, muscular limbs that we might press the flanks of stallions and fly swift as thought without railway or steam-kettle, delicate hands that we might stroke the long heads of greyhounds, the velvety fur of cats, and the polished shoulder of not very virtuous creatures, and, finally, granted to us alone the triple and glorious privilege of drinking without being thirsty, striking fire, and making love in all seasons, whereby we are very much more distinguished from brutes than by the custom of reading newspapers and framing constitutions.

Lost opportunities, lost possibilities, feelings we can never get back again. That’s part of what it means to be alive. But inside our heads – at least that’s where I imagine it – there’s a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in a while, let in fresh air, change the water in the flower vases. In other words, you’ll live for ever in your own private library.

Instead of getting the house like Mount Vernon, they had moved into the little house on Greentree Avenue in Westport, and Betsy had become pregnant, and he had thrown the vase against the wall, and the washing machine had broken down. And Grandmother had died and left her house to somebody, and instead of being made vice-president of J. H. Nottersby, Incorporated, he had finally arrived at a job where he tested mattresses, was uneasy when his boss said he wanted to see him without explaining why, and lived in fear of an elevator operator.

The other four houses yielded jewelry, wallets, credit cards, laptops, iPads and Kindles, even a couple of expensive looking vases.... "You didn't do anything stupid like writing IOUs and signing your name, did you?" "That's an excellent idea," said Danny. He stepped back through the gate, waited for a count of five, and then returned to Eric. Now Eric was standing, and when he saw Danny he visibly sagged with relief. "What kind of moron are you?" "The fun-loving kind," said Danny. "I'm not an idiot, of course I didn't sign my name to IOUs." "Good." "I signed yours.

…”The Emersons who were at Florence, do you mean? No, I don’t suppose it will prove to be them. It is probably a long cry from them to friends of Mr. Vyse’s. Oh, Mrs. Honeychurch, the oddest people! The queerest people! For our part we liked them, didn’t we?” He appealed to Lucy. “There was a great scene over some violets. They picked violets and filled all the vases in the room of these very Miss Alans who have failed to come to Cissie Villa. Poor little ladies! So shocked and so pleased. It used to be one of Miss Catharine’s great stories. ‘My dear sister loves flowers,’ it began. They found the whole room a mass of blue — vases and jugs — and the story ends with ‘So ungentlemanly and yet so beautiful.’ It is all very difficult. Yes, I always connect those Florentine Emersons with violets.”…

When may did so, he found every cup and saucer, plate, vase, and bowl standing arranged across the floor like pieces in a scaled-up chess game. "The Whitstable family tree," Bryant explained, entering and setting down his tea tray. "It's the only way I could get it sorted out in my head. I had to see them properly laid out, who was descended from whom." He pointed to a milk jug. "Daisy Whitstable is bottom left-hand corner, by the fireguard. Next to her is the egg cup, brother Tarquin... Now, pass me Marion and Alfred Whitstable over there." "What's their significance?" "We need them to drink out of.

Empty—it was utterly empty here. Like a tomb. “Tam?” I called. I bounded up the front steps and into the house. I rushed inside, swearing as I slid on a piece of broken porcelain—the remnants of a vase. Slowly, I turned in the front hall. It looked as if an army had marched through. Tapestries hung in shreds, the marble banister was fractured, and the chandeliers lay broken on the ground, reduced to mounds of shattered crystal. “Tamlin?” I shouted. Nothing. The windows had all been blown out. “Lucien?” No one answered. “Tam?” My voice echoed through the house, mocking me. Alone in the wreckage of the manor, I sank to my knees. He was gone.

The doors burst open, startling me awake. I nearly jumped out of bed. Tove groaned next to me, since I did this weird mind-slap thing whenever I woke up scared, and it always hit him the worst. I'd forgotten about it because it had been a few months since the last time it happened. "Good morning, good morning, good morning," Loki chirped, wheeling in a table covered with silver domes. "What are you doing?" I asked, squinting at him. He'd pulled up the shades. I was tired as hell, and I was not happy. "I thought you two lovebirds would like breakfast," Loki said. "So I had the chef whip you up something fantastic." As he set up the table in the sitting area, he looked over at us. "Although you two are sleeping awfully far apart for newlyweds." "Oh, my god." I groaned and pulled the covers over my head. "You know, I think you're being a dick," Tove told him as he got out of bed. "But I'm starving. So I'm willing to overlook it. This time." "A dick?" Loki pretended to be offended. "I'm merely worried about your health. If your bodies aren't used to strenuous activities, like a long night of lovemaking, you could waste away if you don't get plenty of protein and rehydrate. I'm concerned for you." "Yes, we both believe that's why you're here," Tove said sarcastically and took a glass of orange juice that Loki had poured for him. "What about you, Princess?" Loki's gaze cut to me as he filled another glass. "I'm not hungry." I sighed and sat up. "Oh, really?" Loki arched an eyebrow. "Does that mean that last night-" "It means that last night is none of your business," I snapped. I got up and hobbled over to Elora's satin robe, which had been left on a nearby chair. My feet and ankles ached from all the dancing I'd done the night before. "Don't cover up on my account," Loki said as I put on the robe. "You don't have anything I haven't seen." "Oh, I have plenty you haven't seen," I said and pulled the robe around me. "You should get married more often," Loki teased. "It makes you feisty." I rolled my eyes and went over to the table. Loki had set it all up, complete with a flower in a vase in the center, and he'd pulled off the domed lids to reveal a plentiful breakfast. I took a seat across from Tove, only to realize that Loki had pulled up a third chair for himself. "What are you doing?" I asked. "Well, I went to all the trouble of having someone prepare it, so I might as well eat it." Loki sat down and handed me a flute filled with orange liquid. "I made mimosas." "Thanks," I said, and I exchanged a look with Tove to see if it was okay if Loki stayed. "He's a dick," Tove said over a mouthful of food, and shrugged. "But I don't care." In all honesty, I think we both preferred having Loki there. He was a buffer between the two of us so we didn't have to deal with any awkward morning-after conversations. And though I'd never admit it aloud, Loki made me laugh, and right now I needed a little levity in my life. "So, how did everyone sleep last night?" Loki asked. There was a quick knock at the bedroom doors, but they opened before I could answer. Finn strode inside, and my stomach dropped. He was the last person I'd expected to see. I didn't even think he would be here anymore. After the other night I assumed he'd left, especially when I didn't see him at the wedding. "Princess, I'm sorry-" Finn started to say as he hurried in, but then he saw Loki and stopped abruptly. "Finn?" I asked, stunned. Finn looked appalled and pointed at Loki. "What are you doing here?" "I'm drinking a mimosa." Loki leaned back in his chair. "What are you doing here?" "What is he doing here?" Finn asked, turning his attention to me. "Never mind him." I waved it off. "What's going on?" "See, Finn, you should've told me when I asked," Loki said between sips of his drink.

She described how Camus’s aphorism “One must imagine Sisyphus happy” helps her fight back against unproductive feelings of meaninglessness. If we consider, like Camus, Sisyphus at the foot of his mountain, we can see that he is smiling. He is content in his task of defying the Gods, the journey more important than the goal. To achieve a beginning, a middle, an end, a meaning to the chaos of creation—that's more than any deity seems to manage: But it's what writers do. So I tidy the desk, even polish it up a bit, stick some flowers in a vase and start. As I begin a novel I remind myself as ever of Camus's admonition that the purpose of a writer is to keep civilization from destroying itself. And even while thinking, well, fat chance! I find courage, reach for the heights, and if the rock keeps rolling down again so it does. What the hell, start again. Rewrite. Be of good cheer. Smile on, Sisyphus!

Why a flower had become that, I had no idea. Something about flowers always made me think about the reproductive system.The scent of a rose—and any other flower—was like stuffing your nose into a vagina. What attracts bees to the aroma is the very reason flowers pollinate and continue to flourish. Smelling a flower was the equivalent to sniffing its reproductive organs.I shrugged and plucked the flower from its vase, pinning it to my lapel. This’ll do. I feel like such a pussy.

The large strings hummed like rain, The small strings whispered like a secret, Hummed, whispered—and then were intermingled Like a pouring of large and small pearls into a plate of jade. We heard an oriole, liquid, hidden among flowers. We heard a brook bitterly sob along a bank of sand. . . . By the checking of its cold touch, the very string seemed broken As though it could not pass; and the notes, dying away Into a depth of sorrow and concealment of lament, Told even more in silence than they had told in sound. . . . A silver vase abruptly broke with a gush of water, And out leapt armored horses and weapons that clashed and smote— And before she laid her pick down, she ended with one stroke, And all four strings made one sound, as of rending silk.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

Once let down, I never fully recovered. I could never forget, and the break never mended. Like a glass vase that you place on the edge of a table, once broken, the pieces never quite fit again. However the problem wasn’t with the vase, or even that the vases kept breaking. The problem was that I kept putting them on the edge of tables. Through my attachments, I was dependent on my relationships to fulfill my needs. I allowed those relationships to define my happiness or my sadness, my fulfillment or my emptiness, my security, and even my self-worth. And so, like the vase placed where it will inevitably fall, through those dependencies I set myself up for disappointment. I set myself up to be broken. And that’s exactly what I found: one disappointment, one break after another. Yet the people who broke me were not to blame any more than gravity can be blamed for breaking the vase. We can’t blame the laws of physics when a twig snaps because we leaned on it for support. The twig was never created to carry us. Our weight was only meant to be carried by God. We are told in the Qur’an: "…whoever rejects evil and believes in God hath grasped the most trustworthy hand-hold that never breaks. And God hears and knows all things." (Qur’an, 2: 256) There is a crucial lesson in this verse: that there is only one hand-hold that never breaks. There is only one place where we can lay our dependencies. There is only one relationship that should define our self-worth and only one source from which to seek our ultimate happiness, fulfillment, and security. That place is God. However,

... a tiny room, furnished in early MFI, of which every surface was covered in china ornaments and plaster knick-knacks whose only virtue was that they were small, and therefore of limited individual horribleness. Cumulatively, they were like an infestation. Little vases, ashtrays, animals, shepherdesses, tramps, boots, tobys, ruined castles, civic shields of seaside towns, thimbles, bambis, pink goggle-eyed puppies sitting up and begging, scooped-out swans plainly meant to double as soap dishes, donkeys with empry panniers which ought to have held pin-cushions or perhaps bunches of violets -- all jostled together in a sad visual cacophony of bad taste and birthday presents and fading holiday memories, too many to be loved, justifying themselves by their sheer weight of numbers as 'collections' do.

The offices are decorated with neon-Louis XVI furniture and are dominated by grey, Mr. Dior’s favourite colour when he opened the famous house on avenue Montaigne back in 1947. The design is even more stunning than I remembered: both chic and understated, with lots of open space –the apex of luxury. The silk curtains dressing the window fall to the floor like ball gowns, delicate silver vases holding pink roses have been artfully placed throughout the room, and grey and white settees and oval-backed chairs provided artful seating areas.

You don’t know,” Anthony said, his voice low and nearly shaking with rage. “You don’t know what he has done.” “No more than what you have done, I’m sure,” Violet said slyly. “Precisely!” Anthony roared. “Good God, I know exactly what is going on in his brain right now, and it has nothing to do with poetry and roses.” Simon pictured laying Daphne down on a bed of rose petals. “Well, maybe roses,” he murmured. “I’m going to kill him,” Anthony announced. “These are tulips, anyway,” Violet said primly, “from Holland. And Anthony, you really must summon control of your emotions. This is most unseemly.” “He is not fit to lick Daphne’s boots.” Simon’s head filled with more erotic images, this time of himself licking her toes. He decided not to comment. Besides, he had already decided that he wasn’t going to allow his thoughts to wander in such directions. Daphne was Anthony’s sister, for God’s sake. He couldn’t seduce her. “I refuse to listen to another disparaging word about his grace,” Violet stated emphatically, “and that is the end of the subject.” “But—” “I don’t like your tone, Anthony Bridgerton!” Simon thought he heard Daphne choke on a chuckle, and he wondered what that was all about. “If it would please Your Motherhood,” Anthony said in excruciatingly even tones, “I would like a private word with his grace.” “This time I’m really going to get that vase,” Daphne announced, and dashed from the room. Violet crossed her arms, and said to Anthony, “I will not have you mistreat a guest in my home.” “I shan’t lay so much as a hand on him,” Anthony replied. “I give you my word.” Having never had a mother, Simon was finding this exchange fascinating. Bridgerton House was, after all, technically Anthony’s house, not his mother’s, and Simon was impressed that Anthony had refrained from pointing this out. “It’s quite all right, Lady Bridgerton,” he interjected. “I’m sure Anthony and I have much to discuss.” Anthony’s eyes narrowed. “Much.

Florence’s mother liked to imagine a life of diamonds and gilt for her daughter. But this, this, was the life Florence wanted. A blue-and-white teacup stuffed with clementine peels. A tangle of white ranunculus in a ceramic pitcher on the windowsill. Amanda had once put a vase of those same flowers on her desk at work. The whole place looked like a painting by Vermeer. And it was cold. Chilly gusts rattled the windows in their frames. Someone had told Florence once that glass was actually a liquid that settled slowly, over eons; that was why in old houses the windows were always thicker at the bottom than at the top. Was that true? Florence didn’t care. In the same way she couldn’t understand why people were so determined to expose Maud Dixon’s identity, she couldn’t understand why they needed to pin things down, turn poetry into fact. Wasn’t poetry better? Why would you turn something beautiful into something quotidian?

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers [...], they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

What would you like for your own life, Kate, if you could choose?” “Anything?” “Of course anything.” “That’s really easy, Aunty Ivy.” “Go on then.” “A straw hat...with a bright scarlet ribbon tied around the top and a bow at the back. A tea-dress like girls used to wear, with big red poppies all over the fabric. A pair of flat, white pumps, comfortable but really pretty. A bicycle with a basket on the front. In the basket is a loaf of fresh bread, cheese, fruit oh...and a bottle of sparkly wine, you know, like posh people drink. “I’m cycling down a lane. There are no lorries or cars or bicycles. No people – just me. The sun is shining through the trees, making patterns on the ground. At the end of the lane is a gate, sort of hidden between the bushes and trees. I stop at the gate, get off the bike and wheel it into the garden. “In the garden there are flowers of all kinds, especially roses. They’re my favourite. I walk down the little path to a cottage. It’s not big, just big enough. The front door needs painting and has a little stained glass window at the top. I take the food out of the basket and go through the door. “Inside, everything is clean, pretty and bright. There are vases of flowers on every surface and it smells sweet, like lemon cake. At the end of the room are French windows. They need painting too, but it doesn’t matter. I go through the French windows into a beautiful garden. Even more flowers there...and a veranda. On the veranda is an old rocking chair with patchwork cushions and next to it a little table that has an oriental tablecloth with gold tassels. I put the food on the table and pour the wine into a glass. I’d sit in the rocking chair and close my eyes and think to myself... this is my place.” From A DISH OF STONES

Is it always this awkward?" Sara asked. Her voice was hushed. Derek turned to look at her, his gaze falling to the white rose in her hands. She had taken it from the arrangement of hothouse flowers. Nervously her fingers ruffled the fragile petals. Self-consciously Sara sniffed the pale blossom and began to insert it back into the huge vase. "It's nice to have roses in January," she murmured. "Nothing in the world has such a lovely scent." She was so innocently beautiful, with the disordered waves of her hair falling around her face. His muscles tightened in response. He would like to have her painted this way, standing by the table with her head turned toward him, the white flower caught in her fingers. "Bring it here," he said. She obeyed, coming to him and handing him the rose. He closed his fingers around the plump head of the flower and pulled gently, freeing the petals from their tenuous moorings. Tossing aside the desecrated stem, he opened his hand over the bed. The petals scattered in a fragrant shower. Sara drew in a quick breath, staring at him as if mesmerized.

It may be that there is no solution or it may be that I'm not clever enough to find it. Ramakrishna looked upon the world as the sport of God. "It is like a game," he said. "In this game there are joy and sorrow, virtue and vice, knowledge and ignorance, good and evil., The game cannot continue if sin and suffering are altogether eliminated from the creation." I would reject that with all my strength. The best I can suggest is that when the Absolute manifested itself in the world evil was the natural correlation of good. You could never have had the stupendous beauty of the Himalayas without the unimaginable horror of a convulsion of the earth's crust. The Chinese craftsman who makes a vase in what they call eggshell porcelain can give it a lovely shape, ornament it with a beautiful design, stain it a ravishing colour, and give it a perfect glaze, but from its very nature he can't make it anything but fragile. If you drop it on the floor it will break into a dozen fragments. Isn't it possible in the same way that the values we cherish in the world can only exist in combination with evil?

FUCK There are people who will tell you that using the word fuck in a poem indicates a serious lapse of taste, or imagination, or both. It’s vulgar, indecorous, an obscenity that crashes down like an anvil falling through a skylight to land on a restaurant table, on the white linen, the cut-glass vase of lilacs. But if you were sitting over coffee when the metal hit your saucer like a missile, wouldn’t that be the first thing you’d say? Wouldn’t you leap back shouting, or at least thinking it, over and over, bell-note riotously clanging in the church of your brain while the solicitous waiter led you away, wouldn’t you prop your shaking elbows on the bar and order your first drink in months, telling yourself you were lucky to be alive? And if you wouldn’t say anything but Mercy or Oh my or Land sakes, well then I don’t want to know you anyway and I don’t give a fuck what you think of my poem. The world is divided into those whose opinions matter and those who will never have a clue, and if you knew which one you were I could talk to you, and tell you that sometimes there’s only one word that means what you need it to mean, the way there’s only one person when you first fall in love, or one infant’s cry that calls forth the burning milk, one name that you pray to when prayer is what’s left to you. I’m saying in the beginning was the word and it was good, it meant one human entering another and it’s still what I love, the word made flesh. Fuck me, I say to the one whose lovely body I want close, and as we fuck I know it’s holy, a psalm, a hymn, a hammer ringing down on an anvil, forging a whole new world.

It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating. It was, in an enormous world-shaking way, like a highly dignified man in a silk hat, morning coat, creased trousers, spats, and patent boots suddenly slipping on a piece of orange-peel and sitting, all of a heap, with silk hat flying, in a filthy gutter. The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled. So we laughed merrily, I remember, when a military chaplain (Eton, Christ Church, and Christian service) described how an English sergeant stood round the traverse of a German trench, in a night raid, and as the Germans came his way, thinking to escape, he cleft one skull after another with a steel-studded bludgeon a weapon which he had made with loving craftsmanship on the model of Blunderbore’s club in the pictures of a fairy-tale. So we laughed at the adventures of a young barrister (a brilliant fellow in the Oxford “Union”) whose pleasure it was to creep out o’ nights into No Man’s Land and lie doggo in a shell-hole close to the enemy’s barbed wire, until presently, after an hour’s waiting or two, a German soldier would crawl out to fetch in a corpse. The English barrister lay with his rifle ready. Where there had been one corpse there were two. Each night he made a notch on his rifle three notches one night to check the number of his victims. Then he came back to breakfast in his dugout with a hearty appetite.

Oskar Schell: My father died at 9-11. After he died I wouldn't go into his room for a year because it was too hard and it made me want to cry. But one day, I put on heavy boots and went in his room anyway. I miss doing taekwondo with him because it always made me laugh. When I went into his closet, where his clothes and stuff were, I reached up to get his old camera. It spun around and dropped about a hundred stairs, and I broke a blue vase! Inside was a key in an envelope with black written on it and I knew that dad left something somewhere for me that the key opened and I had to find. So I take it to Walt, the locksmith. I give it to Stan, the doorman, who tells me keys can open anything. He gave me the phone book for all the five boroughs. I count there are 472 people with the last name black. There are 216 addresses. Some of the blacks live together, obviously. I calculated that if I go to 2 every Saturday plus holidays, minus my hamlet school plays, my minerals, coins, and comic convention, it's going to take me 3 years to go through all of them. But that's what I'm going to do! Go to every single person named black and find out what the key fits and see what dad needed me to find. I made the very best possible plan but using the last four digits of each phone number, I divide the people by zones. I had to tell my mother another lie, because she wouldn't understand how I need to go out and find what the key fits and help me make sense of things that don't even make sense like him being killed in the building by people that didn't even know him at all! And I see some people who don't speak English, who are hiding, one black said that she spoke to God. If she spoke to god how come she didn't tell him not to kill her son or not to let people fly planes into buildings and maybe she spoke to a different god than them! And I met a man who was a woman who a man who was a woman all at the same time and he didn't want to get hurt because he/she was scared that she/he was so different. And I still wonder if she/he ever beat up himself, but what does it matter? Thomas Schell: What would this place be if everyone had the same haircut? Oskar Schell: And I see Mr. Black who hasn't heard a sound in 24 years which I can understand because I miss dad's voice that much. Like when he would say, "are you up yet?" or... Thomas Schell: Let's go do something. Oskar Schell: And I see the twin brothers who paint together and there's a shed that has to be clue, but it's just a shed! Another black drew the same drawing of the same person over and over and over again! Forest black, the doorman, was a school teacher in Russia but now says his brain is dying! Seamus black who has a coin collection, but doesn't have enough money to eat everyday! You see olive black was a gate guard but didn't have the key to it which makes him feel like he's looking at a brick wall. And I feel like I'm looking at a brick wall because I tried the key in 148 different places, but the key didn't fit. And open anything it hasn't that dad needed me to find so I know that without him everything is going to be alright. Thomas Schell: Let's leave it there then. Oskar Schell: And I still feel scared every time I go into a strange place. I'm so scared I have to hold myself around my waist or I think I'll just break all apart! But I never forget what I heard him tell mom about the sixth borough. That if things were easy to find... Thomas Schell: ...they wouldn't be worth finding. Oskar Schell: And I'm so scared every time I leave home. Every time I hear a door open. And I don't know a single thing that I didn't know when I started! It's these times I miss my dad more than ever even if this whole thing is to stop missing him at all! It hurts too much. Sometimes I'm afraid I'll do something very bad.