Love Through A Prism Quotes

When I set a glass prism on a windowsill and allow the sun to flood through it, a spectrum of colors dances on the floor. What we call "white" is a rainbow of colored rays packed into a small space. The prism sets them free. Love is the white light of emotion.

A day of dappled seaborne clouds. The phrase and the day and the scene harmonised in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

She saw him fracture into rainbow colors through the prism of her love.

The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

Partnerships are increasingly seen through the prism of promises and expectations, and as a kind of product for consumers: satisfaction on the spot, and if not fully satisfied, return the product to the shop or replace it with a new and improved one! You don't, after all, stick to your car, or computer, or iPod, when better ones appear.

the fact that she and I are now incorporated into this unique subject, the subject of love that views the panorama of the world through the prism of our difference

From Michel Foucault these thinkers absorbed their idea of society not as an infinitely complex system of trust and traditions that have evolved over time, but always in the unforgiving light cast when everything is viewed solely through the prism of ‘power’. Viewing all human interactions in this light distorts, rather than clarifies, presenting a dishonest interpretation of our lives. Of course power exists as a force in the world, but so do charity, forgiveness and love. If you were to ask most people what matters in their lives very few would say ‘power’. Not because they haven’t absorbed their Foucault, but because it is perverse to see everything in life through such a monomaniacal lens.

Love is the prism through which I view the world. I truly believe it binds and propels us. This isn’t a naive denial of the darkness that we know exists in the world; rather it is a refusal to allow the devastation, the horror, or the heartache to consume us. It is affirming the knowledge that there is light. Love is that light. Romance sweetens the casual bitterness we can encounter; it heightens the mundane and makes the terrestrial supernatural.

In the final analysis, then, love of enemies is trusting God for the miracle of divine forgiveness. If God can forgive, redeem, and transform me, I must also believe that God can work such wonders with anyone. Love of enemies is seeing one's oppressors through the prism of the Reign of God--not only as they now are but also as they can become: transformed by the power of God.

He could swear he did not look back, could not—by any optical chance, or in any prism—have seen her physically as he walked away; and yet, with dreadful distinction, he retained forever a composite picture of her standing where he left her. The picture—which penetrated him, through an eye in the back of his head, through his vitreous spinal canal, and could never be lived down, never—consisted of a selection and blend of such random images and expressions of hers that had affected him with a pang of intolerable remorse at various moments in the past.

Luck I get,” she said when they’d sat in silence once more. “But why brave?” He shifted in his seat then sat forward, his gaze piercing through her. “Because, Natalia, love is a risk. Love from the depths of your soul requires a certain amount of sacrifice. It bids you to give yourself wholly to another. To allow someone to view you like a prism, assessing you at every angle, examining every flaw. You must lay yourself before them, open and bare, and say, ‘here I am. I hold nothing back. I am yours, mind, body, and soul.’ And all you can do is hope they don’t crush you.” He leaned closer. “But the man who truly loves you will tend to your heart like he tends a garden, nurturing it until it grows and blooms under his hand.

I like the disaster of the night sky, stars spilling this way and that as if they were upturned from a glass. I like the way good madness feels. I like the way laughter always spills. That's the word for it. It never just comes, it spills. I like the word 'again'. Again and again and again and again and again and again and again and again. I like the quiet sound a coffee cup makes when it's set down on a wooden table. So hushed. So inviting. Like morning light yawning through the window and stretching out onto the kitchen floor. I like the way girls' lips look like they're stained with berries. I like the way morning light breaks like a prism through the empty wine bottles on our dusty apartment floor. Glasses empty except for the midnight hour. I like the way blueberries stain my fingers during the summer. I like the way light hits your eyes and turns it into a color that doesn't exist anywhere else other than in this moment. I want it all. I want the breeze to call my name as it rushes down my street, looking for me. I want to feel grass underneath my bare feet and I want to feel the sun kiss freckles onto my cheeks. I want to hear you yell hello as you make your way towards me, not goodbye as you have to go. That's just a little bit about me.

Love,” said the Great Abbot, “is the very highest form of prayer. If prayer is the queen of the virtues, then Christian love is God, for God is love. If you just look at the world only through the prism of love, all your problems will disappear, and within yourself you will see the Kingdom of Heaven, within the human being you will find the Icon, and within the earthly beauty you will see the shade of Paradise. You may object to me that it is impossible to love your enemies. But remember what Jesus Christ told us: ‘Whatever you have done unto the least of these my brethren, you have done it unto me . . .’ Inscribe these words in golden letters upon the tablets of your heart, and inscribe them and hang them together with an icon, and read them to yourself every day.

He drew forth a phrase from his treasure and spoke it softly to himself: —A day of dappled seaborne clouds. The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the grey-fringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language many-coloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

Books, those miraculous memories of high thoughts and golden moods; those magical shells, tremulous with the secrets of the ocean of life; those love-letters that pass from hand to hand of a thousand lovers that never meet; those honeycombs of dreams; those orchards of knowledge; those still-beating hearts of the noble dead; those mysterious signals that beckon along the darksome pathways of the past; voices through which the myriad lispings of the earth find perfect speech; oracles through which its mysteries call like voices of moonlit woods; prisms of beauty; urns stored with all the sweets of all the summers of time; immortal nightingales that sing for ever to the rose of life.

He drew forth a phrase from his treasure and spoke it softly to himself: --a day of dappled seaborne clouds. The phrase and the day and the scene harmonised in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose? He passed from the trembling bridge on to firm land again.

And I realized what had turned over in my chest. My heart. Because grief had shifted the prism of the lens I used to view Nova Booth through and turned it into something more than love for a brother or a friend. It had amplified him, multiplied him like a kaleidoscope into so much more. And that was it, the moment when I found the words for what that man was to me and what he would always mean to me. I loved him. Unintentionally, but irrevocably.

Of course, I should have known the kids would pop out in the atmosphere of Roberta's office. That's what they do when Alice is under stress. They see a gap in the space-time continuum and slip through like beams of light through a prism changing form and direction. We had got into the habit in recent weeks of starting our sessions with that marble and stick game called Ker-Plunk, which Billy liked. There were times when I caught myself entering the office with a teddy that Samuel had taken from the toy cupboard outside. Roberta told me that on a couple of occasions I had shot her with the plastic gun and once, as Samuel, I had climbed down from the high-tech chairs, rolled into a ball in the corner and just cried. 'This is embarrassing,' I admitted. 'It doesn't have to be.' 'It doesn't have to be, but it is,' I said. The thing is. I never knew when the 'others' were going to come out. I only discovered that one had been out when I lost time or found myself in the midst of some wacky occupation — finger-painting like a five-year-old, cutting my arms, wandering from shops with unwanted, unpaid-for clutter. In her reserved way, Roberta described the kids as an elaborate defence mechanism. As a child, I had blocked out my memories in order not to dwell on anything painful or uncertain. Even as a teenager, I had allowed the bizarre and terrifying to seem normal because the alternative would have upset the fiction of my loving little nuclear family. I made a mental note to look up defence mechanisms, something we had touched on in psychology.

Only humour - the splendid invention of those highly talented but unfortunte individuals who are frustrated in the pursuit of the highest ideals, figures bordering on the tragic - only humour (possibly the most original and brilliant of humankind's achievements) can accomplish the otherwise impossible feat of uniting all spheres of human life by bathing them in the iridescent light of its prisms. To live in the world as though it were not the world, to respect the law but to remain above it, to have possessions 'as if not possessing', to renounce things as though it were no renunciation: - all things asked of us in such well-loved and frequently expressed words of wisdom can only be put into practice through humour.

You are a three-part being - body, mind and spirit - and you never, ever are anything less or anything else. As you move from the metaphysical to the physical and back again, you simply disintegrate and reintegrate these aspects of Who You Are. To help you understand how such a thing is possible, think of what you call "white light". This is actually a combination of lights of different wave-lenghts in the electromagnetic spectrum. If you send white light through a dispersive prism, you will see its spectral colors, which are its constituent parts. Now think of physicality as the "prism" of Ultimate Reality. When the soul passes through the prism into physicality, it breaks into its constituent parts: body, mind and spirit. When it passes back through the prism the other way - or as humans put it, when you "pass away" - the soul becomes one element again. That one element is You.

Situated in the center of family values debates is an imagined traditional family ideal. Formed through a combination of marital and blood ties, "normal" families should consist of heterosexual, racially homogeneous couples who produce their own biological children. Such families should have a specific authority structure, namely, a father-head earning an adequate family wage, a stay-at-home wife and mother, and children. Idealizing the traditional family as a private haven from a public world, family is seen as being held together through primary emotional bonds of love and caring. assuming a relatively fixed sexual division of labor, wherein women's roles are defined as primarily in the home with men's in the public world of work, the traditional family ideal also assumes the separation of work and family. Defined as a natural or biological arrangement based on heterosexual attraction, instead this monolithic family type is actually supported by government policy. It is organized not around a biological core, but a state-sanctioned, heterosexual marriage that confers legitimacy not only on the family structure itself but on children born in this family. In general, everything the imagined traditional family ideal is thought to be, African-American families are not. Two elements of the traditional family ideal are especially problematic for African-American women. First, the assumed split between the "public" sphere of paid employment and the "private" sphere of unpaid family responsibilities has never worked for U.S. Black women. Under slavery, U.S. Black women worked without pay in the allegedly public sphere of Southern agriculture and had their family privacy routinely violated. Second, the public/private binary separating the family households from the paid labor market is fundamental in explaining U.S. gender ideology. If one assumes that real men work and real women take care of families, then African-Americans suffer from deficient ideas concerning gender. in particular, Black women become less "feminine," because they work outside the home, work for pay and thus compete with men, and their work takes them away from their children. Framed through this prism of an imagined traditional family ideal, U.S. Black women's experiences and those of other women of color are typically deemed deficient. Rather than trying to explain why Black women's work and family patterns deviate from the seeming normality of the traditional family ideal, a more fruitful approach lies in challenging the very constructs of work and family themselves. Understandings of work, like understandings of family, vary greatly depending on who controls the definitions.

On the other side of the misery of his training, there was the ecstasy of music itself. When he escaped from his father’s regime and found better teachers and discovered his own ambitions, the teenage Beethoven still sought solitude, hours when he could be alone with music and pore over his own creations. Even though he was performing constantly in public, the rest of the world and everybody in it could not reach him in that solitude. Music was the one extraordinary thing in a sea of the disappointing and ordinary. Reared as he was in a relentless discipline, instinctively responsive to music as he was, the boy never truly learned to understand the world outside music. Nobody ever really demanded that of him until, disastrously, near the end of his life. Nor did he ever really understand love. He could perceive the world and other people only through the prism of his own consciousness, judging them in the unforgiving terms he judged himself.

1595, Richard Field, fellow-alumnus of the King Edward grammar school in Stratford-upon-Avon, printed The lives of the noble Grecians and Romanes, compared together by that grave learned philosopher and historiographer, Plutarke of Chaeronea: translated out of Greeke into French by James Amiot, abbot of Bellozane, Bishop of Auxerre, one of the Kings privie counsell, and great Amner of France, and out of French into English, by Thomas North. This was the book that got Shakespeare thinking seriously about politics: monarchy versus republicanism versus empire; the choices we make and their tragic consequences; the conflict between public duty and private desire. He absorbed classical thought, but was not enslaved to it. Shakespeare was a thinker who always made it new, adapted his source materials, and put his own spin on them. In the case of Plutarch, he feminized the very masculine Roman world. Brutus and Caesar are seen through the prism of their wives, Portia and Calpurnia; Coriolanus through his mother, Volumnia; Mark Antony through his lover, Cleopatra. Roman women were traditionally silent, confined to the domestic sphere. Cleopatra is the very antithesis of such a woman, while Volumnia is given the full force of that supreme Ciceronian skill, a persuasive rhetorical voice.40 Timon of Athens is alone and unhappy precisely because his obsession with money has cut him off from the love of, and for, women (the only females in Timon’s strange play are two prostitutes). Paradoxically, the very masculinity of Plutarch’s version of ancient history stimulated Shakespeare into demonstrating that women are more than the equal of men. Where most thinkers among his contemporaries took the traditional view of female inferiority, he again and again wrote comedies in which the girls are smarter than the boys—Beatrice in Much Ado about Nothing, Rosalind in As You Like It, Portia in The Merchant of Venice—and tragedies in which women exercise forceful authority for good or ill (Tamora, Cleopatra, Volumnia, and Cymbeline’s Queen in his imagined antiquity, but also Queen Margaret in his rendition of the Wars of the Roses).41

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of color across the sky—so the space where I exist, and want to keep existing, and to be quite frank I hope I die in, is exactly this middle distance: where despair struck pure otherness and created something sublime. And that’s why I’ve chosen to write these pages as I’ve written them. For only by stepping into the middle zone, the polychrome edge between truth and untruth, is it tolerable to be here and writing this at all. Whatever teaches us to talk to ourselves is important: whatever teaches us to sing ourselves out of despair. But the painting has also taught me that we can speak to each other across time. And I feel I have something very serious and urgent to say to you, my non-existent reader, and I feel I should say it as urgently as if I were standing in the room with you. That life—whatever else it is—is short. That fate is cruel but maybe not random. That Nature (meaning Death) always wins but that doesn’t mean we have to bow and grovel to it. That maybe even if we’re not always so glad to be here, it’s our task to immerse ourselves anyway: wade straight through it, right through the cesspool, while keeping eyes and hearts open. And in the midst of our dying, as we rise from the organic and sink back ignominiously into the organic, it is a glory and a privilege to love what Death doesn’t touch. For if disaster and oblivion have followed this painting down through time—so too has love. Insofar as it is immortal (and it is) I have a small, bright, immutable part in that immortality. It exists; and it keeps on existing. And I add my own love to the history of people who have loved beautiful things, and looked out for them, and pulled them from the fire, and sought them when they were lost, and tried to preserve them and save them while passing them along literally from hand to hand, singing out brilliantly from the wreck of time to the next generation of lovers, and the next. Thanks to: Robbert Ammerlaan, Ivan Nabokov, Sam Pace, Neal Guma.

What is beheld through glass seems glass. The quality of what I am Encases what I am not, Smoothes the strange world. I perceive it slowly, In my time, In my material, As my pride, As my possession: The vision is love. When life crashes like a cracked pane, Still shall I love Even the strange dead as the living once. Death also sees, though distantly, And I must trust then as now A prism — of another kind, Through which one may not put one's hands or touch.

--- but the prism through which I view her remains for me unchanging. To me, she will always be twenty- one and I twenty- three.

His father curled a finger toward him. “I have need of your gift.” “Why?” His Starborn abilities were little more than a sparkle of starlight in his palm. His shadow talents were the more interesting gift. Even the temperature monitors on the high-tech cameras in this city couldn’t detect him when he shadow-walked. His father held up the prism. “Direct a beam of your starlight through this.” Not waiting for an answer, his father again put an eye to the metal viewing contraption atop the prism. It ordinarily took Ruhn a good amount of concentration to summon his starlight, and it usually left him with a headache for hours afterward, but … He was intrigued enough to try. Setting his index finger onto the crystal of the prism, Ruhn closed his eyes and focused upon his breathing. Let the clicking metal of the orrery guide him down, down, down into the black pit within himself, past the churning well of his shadows, to the little hollow beneath them. There, curled upon itself like some hibernating creature, lay the single seed of iridescent light. He gently cupped it with a mental palm, stirring it awake as he carefully brought it upward, as if he were carrying water in his hands. Up through himself, the power shimmering with anticipation, warm and lovely and just about the only part of himself he liked. Ruhn opened his eyes to find the starlight dancing at his fingertip, refracting through the prism. His father adjusted a few dials on the device, jotting down notes with his other hand. The starlight seed became slippery, disintegrating into the air around them. “Just another moment,” the king ordered. Ruhn gritted his teeth, as if it’d somehow keep the starlight from dissolving. Another click of the device, and another jotted note in an ancient, rigid hand. The Old Language of the Fae—his father recorded everything in the half-forgotten language their people had used when they had first come to Midgard through the Northern Rift. The starlight shivered, flared, and faded into nothing. The Autumn King grunted in annoyance, but Ruhn barely heard it over his pounding head. He’d mastered himself enough to pay attention as his father finished his notes. “What are you even doing with that thing?” “Studying how light moves through the world. How it can be shaped.” “Don’t we have scientists over at CCU doing this shit?” “Their interests are not the same as mine.” His father

When we are in touch with this memory and respect its sensitivities, then we are feeling our souls. At those times, faith, hope, and love will spring up in us and joy and tears will both flow through us pretty freely. We will be constantly stabbed by the innocence and beauty of children, and pain and gratitude will, alternately, bring us to our knees. That is what it means to be recollected, to inchoately remember, to feel the memory of God in us. That memory is what is both firing our energy and providing us a prism through which to see and understand.

Eventually, the marquess raised his head and looked down at her, his iridescent eyes burning with a love so fierce it pierced right through to her heart. "That surprise I have for you," he murmured, and stretching, reached for the lunch basket. Still clinging to him, she turned her head on the blanket and watched as he withdrew a small, silk-wrapped bundle.  And as the wrappings fell away, he held up a magnificent ring, a ruby framed in diamonds which winked in the sun and shot prisms of fire into her eyes. "For you," he said simply.  "The future Marchioness of Morninghall.

From both my families, I've learnt important things. From my family of chance, I learnt what it was like to be alone and unrecognized, to be perceived through the prism of delusion, a lost soul marooned in the belly of bedlam. I learned the beauty and power of language, but also its capacity for subtle perfidy, how it can be used to subvert and distort reality, to sanction cruelty and sugarcoat abuse. I learned that words can be the path to freedom or just another lock on the caged door. And from my family of choice, I learn on a daily basis about love and loyalty, about burdens shared and intimacies treasured, about forgiveness and atonement and joy. I learn about the gift of a difficult childhood and the fact that ''it's never too late to have a happy one.

When a thin stream of white light passes through a prism, the light is separated into the respective colours of the rainbow on the opposite side. The human body has the energetic structure of two white equilateral triangles; one upright and one inverted, on top of each other. These triangular prisms construct the shape of a Star Tetrahedron or a 3D Star of David. If you can visualize a stream of white light shining down into your energetic structures and separating the light into the seven colors of the rainbow, then you can now understand what gives us the respective colors of the seven Primary Chakras. The white light shining down upon us represents Unconditional Love and the colors of the rainbow represent all of our collective emotions, behaviours, wants, needs and spiritual abilities. Our filters are allowing certain colors to shine more predominantly while at the same time dimming others due to inactivity. Our filters are therefore limitations that are giving us an incomplete form of existence. Those who are considered Enlightened have learned to focus on the pure white light behind our energetic structures.

Racism hates love: loving someone of another ethnicity is intolerable for them. Through racists' prism, since ethnic groups differ as much as animal species do, mixing their blood spoils the "ethnic perfection" of the master race. Therefore, racism forbids one of the fundamental rights of human beings: the freedom of to love, marry, and have children with whomever they want. However, this is also not sufficient to satisfy racism. It forbids right of being loved either! Although being loved is not in loved one's own hands! Just as a Jew cannot love a German, neither can a Jew be loved by a German! Yet, racism fears even children born from the love of different ethnicities. Because successful hybrid families and their gifted children are the strongest evidence of racism's betrayal of humanity. In order to prevent such "accidental" evidence, racism becomes so totalitarian, voyeuristic, immoral, and ugly that it decides on behalf of people to whom they may ejaculate sperm. -To be tried as a Jew-

Or am I speaking to a triggered part of you, to your adversarial you and me consciousness? The triggered part of you sees things through the prism of the past. I believe there’s no such thing as overreacting; it’s just that what someone is reacting to may no longer be what’s in front of them.

Monastery Nights I like to think about the monastery as I’m falling asleep, so that it comes and goes in my mind like a screen saver. I conjure the lake of the zendo, rows of dark boats still unless someone coughs or otherwise ripples the calm. I can hear the four AM slipperiness of sleeping bags as people turn over in their bunks. The ancient bells. When I was first falling in love with Zen, I burned incense called Kyonishiki, “Kyoto Autumn Leaves,” made by the Shoyeido Incense Company, Kyoto, Japan. To me it smelled like earnestness and ether, and I tried to imagine a consciousness ignorant of me. I just now lit a stick of it. I had to run downstairs for some rice to hold it upright in its bowl, which had been empty for a while, a raku bowl with two fingerprints in the clay. It calls up the monastery gate, the massive door demanding I recommit myself in the moments of both its opening and its closing, its weight now mine, I wanted to know what I was, and thought I could find the truth where the floor hurts the knee. I understand no one I consider to be religious. I have no idea what’s meant when someone says they’ve been intimate with a higher power. I seem to have been born without a god receptor. I have fervor but seem to lack even the basic instincts of the many seekers, mostly men, I knew in the monastery, sitting zazen all night, wearing their robes to near-rags boy-stitched back together with unmatched thread, smoothed over their laps and tucked under, unmoving in the long silence, the field of grain ripening, heavy tasseled, field of sentient beings turned toward candles, flowers, the Buddha gleaming like a vivid little sports car from his niche. What is the mind that precedes any sense we could possibly have of ourselves, the mind of self-ignorance? I thought that the divestiture of self could be likened to the divestiture of words, but I was wrong. It’s not the same work. One’s a transparency and one’s an emptiness. Kyonishiki.... Today I’m painting what Mom calls no-colors, grays and browns, evergreens: what’s left of the woods when autumn’s come and gone. And though he died, Dad’s here, still forgetting he’s no longer married to Annie, that his own mother is dead, that he no longer owns a car. I told them not to make any trouble or I’d send them both home. Surprise half inch of snow. What good are words? And what about birches in moonlight, Russell handing me the year’s first chanterelle— Shouldn’t God feel like that? I aspire to “a self-forgetful, perfectly useless concentration,” as Elizabeth Bishop put it. So who shall I say I am? I’m a prism, an expressive temporary sentience, a pinecone falling. I can hear my teacher saying, No. That misses it. Buddha goes on sitting through the century, leaving me alone in the front hall, which has just been cleaned and smells of pine.

Well, didn't you look sharp with your boots when you met me on the path? From two-tone to downtown Beirut but only halfway back Stealing bits of wisdom from the shelf Turned prisons into prisms of the self And what do they know about the springtime or me and you? Born in the midst of the long hot summer we lived through Did they see you run for every rhyme? Did we run for running out of time? When even heroes have to die No one lives forever, love, no one's wise to try We're adding our own wisdom to the shelf Stealing bits of paper, we had help But working away, did we miss the passing of the time? In your own flame you can wither though your passions still outshine Did you read the writing on the wall? Prophesying doom upon us all But even heroes have to die No one lives forever, love, no one's wise to try But hidden in the writing on the wall Many are the beauties of the fall

From Michel Foucault these thinkers absorbed their idea of society not as an infinitely complex system of trust and traditions that have evolved over time, but always in the unforgiving light cast when everything is viewed solely through the prism of ‘power’. Viewing all human interactions in this light distorts, rather than clarifies, presenting a dishonest interpretation of our lives. Of course power exists as a force in the world, but so do charity, forgiveness and love.

Drawn into distance through the prism of the gaze, I keep company with wild places. I allow the land to take up residence within my bones. To behold is to invite in.

Is it like this everywhere you go?” Gary asked. “Pretty much.” Savannah shrugged calmly. “I don’t really mind. Peter always—” She broke off abruptly and brought the steaming cup to her mouth. Gregori could feel sorrow beating at her, a crushing stone weighing down her heart. His hand slipped down her arm to lace his fingers through hers. At once he poured warmth and comfort into her mind, the sensation of his arms around her body, holding her close. “Peter Sanders always took care of the details surrounding Savannah’s shows. He was very good at shielding her. He was murdered after her last show out in San Francisco.” He provided the information quietly to Gary. “I’m sorry,” Gary said instantly, meaning it. Her distress was evident in her large blue eyes. They shimmered with sorrow. Gregori brought Savannah’s hand to the warmth of his mouth, his breath heating the pulse beating in her wrist. The night is especially beautiful, mon petit amour. Your hero saved the girl, walks among the humans, and converses with a fool. That alone should bring a smile to your face. Do not weep for what we cannot change. We will make certain that this human with us comes to no harm. Are you my hero, then? There were tears in her voice, in her mind, like an iridescent prism. She needed him, his comfort, his support under her terrible weight of guilt and love and loss. Always, for all eternity, he answered instantly, without hesitation, his eyes hot mercury. He tipped her chin up so that she met the brilliance of his silver gaze. Always, mon amour.

Pure love, can be observed similar to white light flowing through a prism bringing forth its seven primary colours, like a rainbow. To deeply know and be love, like the rainbow colours, you have to experience all of its parts to become all of it. - Denis J

Beauty lies between you and you and eye and eye Do not compare beauty, For it resides in all, Try if you will, But a slave to the mind you shall be. To compare a dandelion to a lily, And to say the lily is of greater beauty Is a sin we often see. The dandelion is everywhere to be seen, But it is not picked from the ground on a whim. A weed, it was labeled in those grown-up minds, Minds, which have been weeded through time. The same minds which cut lilies from the ground, And stare as they wonder ‘how sad that beauty dwindles down’. They let their thoughts haunt them, And get trapped in the world around them. The truth masked as lies of the eyes. The dandelion and lily, When left to be, Dance in the wind with such beauty, Free. Compare beauty and you'll eclipse your sun's light, And because you only know the stars That come to life when they die, You'll have to wait for the dandelion to fly, Specking light in your darkened mind's eye. Explain beauty and you'll stay for eternity, Trying to capture infinity. Only then will you look into the stilling river, And cry from the open wounds you hide. Bandaging your reflection, you try. Only when it drowns in the murky crinkling water, Do you realize That the stars won't offer the same blinding light, And the darkness has given you sight. Your comparisons’ prism lives only in your eyes, But it travels down your stem, Like a Serpent, Coiling around your breath, With your tongue, Sharper than the air of death, Shedding words you've been fed. Like the grey, Settling deep within your Soul, And the shade, That makes you feel whole. Perhaps you'll try to save the mirrored water, But as you thrash about in infinity, Do not break stems anymore. Instead cut the chains keeping you shackled to the shore. Still, as you roam free, Do not forget to remember, (Infinity said while knocking at eternity’s door) A rigid mind leads to a life lived hollow, But do dip into the mind’s eye knowingly, For the strongest light casts the darkest shadow.

Everything we say to each other echoes with meanings left over from our past experience— both our history talking to the person before us at this moment and our history talking to others. This is especially true in the family— and our history of family talk is like a prism through which all other conversations (and relationships) are refracted.

Everything we say to each other echoes with meanings left over from our past experience— both our history talking to the person before us at this moment and our history talking to others. This is especially true in the family —and our history of family talk is like a prism through which all other conversations (and relationships) are refracted. We react not only to the meaning of the words spoken— the message—but also to what we think those words say about the relationship—the metamessage. Metamessages are unstated meanings we glean based on how someone spoke— tone of voice, phrasing —and on associations we brought to the conversation.

What do we know of ourselves except as through a prism, he wonders, the endless refractions of our mind turning back on itself like a dog chasing its own tail?

Before we learned about attachment theory, we took the secures of the world for granted, and even dismissed them as boring. But looking through the attachment prism, we've come to appreciate secure people's talents and abilities. The goofy Homer Simpson like colleague whom we barely noticed was suddenly transformed into a guy with impressive relationship talent who treats his wife admirably, and our get-a-life neighbor suddenly became a perceptive, caring person who keeps the entire family emotionally in check. But not all secure people are homebodies or goofy. You are not settling by going secure! Secures come in all shapes and forms. Many are good-looking and sexy. Whether plain or gorgeous, we've learned to appreciate them all for what they really are—the "supermates" of evolution—and we hope that you will too.