Marble Granite Quotes

Don’t be deceived when they tell you things are better now. Even if there’s no poverty to be seen because the poverty’s been hidden. Even if you ever got more wages and could afford to buy more of these new and useless goods which industries foist on you and even if it seems to you that you never had so much, that is only the slogan of those who still have much more than you. Don’t be taken in when they paternally pat you on the shoulder and say that there’s no inequality worth speaking of and no more reason to fight because if you believe them they will be completely in charge in their marble homes and granite banks from which they rob the people of the world under the pretence of bringing them culture. Watch out, for as soon as it pleases them they’ll send you out to protect their gold in wars whose weapons, rapidly developed by servile scientists, will become more and more deadly until they can with a flick of the finger tear a million of you to pieces.

Rather a thousand times the county jail than to lie under this marble figure with wings and this granite pedestal bearing the words "pro patria." What do they mean anyway?

The palace was beautiful and cold. Each room was different, displaying one rich color after another. Wide pillars and reliefs decorated each room, quartz giving way to marble, marble giving way to onyx, malachite, and granite. While the memory of Mount Olympus from her one childhood visit was hazy, she most clearly remembered the stark white walls and absence of color. The Palace of Hades was its opposite and spoke to its master's dominion over everything that lay within the earth.

Don't be taken in when they pat you paternally on the shoulder and say that there's no inequality worth speaking of and no more reason for fighting. Because if you believe them they will be completely in charge in their marble homes and granite banks from which they rob the people of the world under the pretense of bringing them culture. Watch out, for as soon as it pleases them they'll send you out to protect their gold in wars whose weapons rapidly developed by servile scientists will become more and more deadly until they can with a flick of the finger tear a million of you into pieces.

KNOWLT HOHEIMER I was the first fruits of the battle of Missionary Ridge. When I felt the bullet water my heart I wished I had staid at home and gone to jail For stealing the hogs of Curl Trenary, Instead of running away and joining the army. Rather a thousand times the country jail That to lie under his marble figure with wings, And this granite pedestal Bearing the words, «Pro Patria». What do they mean, anyway?

Very few people know where they will die, But I do; in a brick-faced hospital, Divided, not unlike Caesarean Gaul, Into three parts; the Dean Memorial Wing, in the classic cast of 1910, Green-grated in unglazed, Aeolian Embrasures; the Maud Wiggin Building, which Commemorates a dog-jawed Boston bitch Who fought the brass down to their whipcord knees In World War I, and won enlisted men Some decent hospitals, and, being rich, Donated her own granite monument; The Mandeville Pavilion, pink-brick tent With marble piping, flying snapping flags Above the entry where our bloody rags Are rolled in to be sponged and sewn again. Today is fair; tomorrow, scourging rain (If only my own tears) will see me in Those jaundiced and distempered corridors Off which the five-foot-wide doors slowly close. White as my skimpy chiton, I will cringe Before the pinpoint of the least syringe; Before the buttered catheter goes in; Before the I.V.’s lisp and drip begins Inside my skin; before the rubber hand Upon the lancet takes aim and descends To lay me open, and upon its thumb Retracts the trouble, a malignant plum; And finally, I’ll quail before the hour When the authorities shut off the power In that vast hospital, and in my bed I’ll feel my blood go thin, go white, the red, The rose all leached away, and I’ll go dead. Then will the business of life resume: The muffled trolley wheeled into my room, The off-white blanket blanking off my face, The stealing secret, private, largo race Down halls and elevators to the place I’ll be consigned to for transshipment, cased In artificial air and light: the ward That’s underground; the terminal; the morgue. Then one fine day when all the smart flags flap, A booted man in black with a peaked cap Will call for me and troll me down the hall And slot me into his black car. That’s all.

In the countryside he heard horns and drums and followed the sound to a temple of granite and marble set in a compound that included shrines and incense stalls, people squatting against the walls, beggars, touts, flower-sellers, those who watch over your shoes for a couple of weightless coins.

Made of granite with marbled blue veins and as tall as a castle's keep, the arch's weathered columns were carved to look like mermaids holding tridents that pierced through carvings of men, the way a sailor might spear a fish. The men's backs were bowed, and their hands stretched to hold out the sign forming the top of the enormous arch. WELCOME TO THE MAGNIFICENT NORTH. STORIES BE HERE.

Happiness depends not on things around me, but on my attitude. Alfred Montapert The monument of a great man is not of granite or marble or bronze. It consists of his goodness, his deeds, his love and his compassion. Alfred Montapert No better words than "thank you" have yet been discovered to express the sincere gratitude of one's heart, when the two words are sincerely spoken. Alfred Montapert The man or woman you really love will never grow old to you. Through the wrinkles of time, through the bowed frame of years, you will always see the dear face and feel the warm heart union of eternal love. Alfred Montapert The finest piece of mechanism in all the universe is the brain of man. The wise person develops his brain and opens his mind to the genius and spirit of the world's greatest ideas. He will feel inspired with the purest and noblest thoughts that have ever animated the spirit of humanity. Alfred Montapert.

Great diggings and foundations spread across what had been the Warders’ practice yard, tall wooden cranes and stacks of cut marble and granite. Masons and laborers swarmed over the workings like ants, and endless streams of wagons trailed through the gates onto the Tower grounds, bringing more stone. To one side stood a wooden “working model,” as the masons called it, big enough for men to enter crouching on their heels and see every detail, where every stone should go. Most of the workmen could not read, after all—neither words nor mason’s drawn plans. The “working model” was as large as some manor houses. When any king or queen had a palace, why should the Amyrlin Seat be relegated to apartments little better than those of many ordinary sisters? Her palace would match the White Tower for splendor, and have a great spire ten spans higher than the Tower itself. The blood had drained from the chief mason’s face when he heard that. The Tower had been Ogier-built, with assistance from sisters using the Power. One look at Elaida’s face, however, set Master Lerman bowing and stammering that of course all would be done as she wished. As if there had been any question. Her mouth tightened with exasperation. She had wanted Ogier masons again, but the Ogier were confining themselves to their stedding for some reason. Her summons to the nearest, Stedding Jentoine, in the Black Hills, had been met with refusal. Polite, yet still refusal, without explanation, even to the Amyrlin Seat.

Maybe our life is an affair of coastlines, of touching on contours, of sand shifting underfoot, of footprints straying a shoreline. No epitaph in granite, no marble eminence, no limestone subtlety. Tracking my prints back is recovering tides’ clean sweep, the cleansing services of storms’ and winds’ abrasive erasures. The only line that matters in the end is forward since home is what we find when we find what it is, they say. Still, standing on the edge of stone seven thousand kilometres wide, my back to a whole past vivid to my eyes, I wonder why, here, it should suddenly begin.

Rain To be umbrella’d in the rain is to be singing, surrounded by nature and at once untouched, shielded against the force of gales andhailstorms in my dry alcove of sentience and peace. But past the amphitheater of raindrops tree trunks purple against the throttling moss, marbling into green and grey lichens. Leaves of grass crouch in a lowered stance, then stand on end like the hairs of a frightened dog. The musty smell of earth hangs in the gallows, emanating decay into the granite, winter light. Clouds bewail the earth in dogged tears. Who said there was consolation in rain? My umbrella is lost in a sudden gust, leaving me wet, shivering, exposed -- reminding me, once again, why I hate funerals. They remind me of what I am and to what I will return.

For the great eras in the history of the development of all the arts have been eras not of increased feeling or enthusiasm in feeling for art, but of new technical improvements primarily and specially. The discovery of marble quarries in the purple ravines of Pentelicus and on the little low-lying hills of the island of Paros gave to the Greeks the opportunity for that intensified vitality of action, that more sensuous and simple humanism, to which the Egyptian sculptor working laboriously in the hard porphyry and rose-coloured granite of the desert could not attain. The splendour of the Venetian school began with the introduction of the new oil medium for painting. The progress in modern music has been due to the invention of new instruments entirely, and in no way to an increased consciousness on the part of the musician of any wider social aim.

July I watch eagerly a certain country graveyard that I pass in driving to and from my farm. It is time for a prairie birthday, and in one corner of this graveyard lives a surviving celebrant of that once important event. It is an ordinary graveyard, bordered by the usual spruces, and studded with the usual pink granite or white marble headstones, each with the usual Sunday bouquet of red or pink geraniums. It is extraordinary only in being triangular instead of square, and in harboring, within the sharp angle of its fence, a pin-point remnant of the native prairie on which the graveyard was established in the 1840’s. Heretofore unreachable by scythe or mower, this yard-square relic of original Wisconsin gives birth, each July, to a man-high stalk of compass plant or cutleaf Silphium, spangled with saucer-sized yellow blooms resembling sunflowers. It is the sole remnant of this plant along this highway, and perhaps the sole remnant in the western half of our county. What a thousand acres of Silphiums looked like when they tickled the bellies of the buffalo is a question never again to be answered, and perhaps not even asked. This year I found the Silphium in first bloom on 24 July, a week later than usual; during the last six years the average date was 15 July. When I passed the graveyard again on 3 August, the fence had been removed by a road crew, and the Silphium cut. It is easy now to predict the future; for a few years my Silphium will try in vain to rise above the mowing machine, and then it will die. With it will die the prairie epoch. The Highway Department says that 100,000 cars pass yearly over this route during the three summer months when the Silphium is in bloom. In them must ride at least 100,000 people who have ‘taken’ what is called history, and perhaps 25,000 who have ‘taken’ what is called botany. Yet I doubt whether a dozen have seen the Silphium, and of these hardly one will notice its demise. If I were to tell a preacher of the adjoining church that the road crew has been burning history books in his cemetery, under the guise of mowing weeds, he would be amazed and uncomprehending. How could a weed be a book? This is one little episode in the funeral of the native flora, which in turn is one episode in the funeral of the floras of the world. Mechanized man, oblivious of floras, is proud of his progress in cleaning up the landscape on which, willy-nilly, he must live out his days. It might be wise to prohibit at once all teaching of real botany and real history, lest some future citizen suffer qualms about the floristic price of his good life. * * *

I became expert at making myself invisible. I could linger two hours over a coffee, four over a meal, and hardly be noticed by the waitress. Though the janitors in Commons rousted me every night at closing time, I doubt they ever realized they spoke to the same boy twice. Sunday afternoons, my cloak of invisibility around my shoulders, I would sit in the infirmary for sometimes six hours at a time, placidly reading copies of Yankee magazine ('Clamming on Cuttyhunk') or Reader's Digest (Ten Ways to Help That Aching Back!'), my presence unremarked by receptionist, physician, and fellow sufferer alike. But, like the Invisible Man in H. G. Wells, I discovered that my gift had its price, which took the form of, in my case as in his, a sort of mental darkness. It seemed that people failed to meet my eye, made as if to walk through me; my superstitions began to transform themselves into something like mania. I became convinced that it was only a matter of time before one of the rickety iron steps that led to my room gave and I would fall and break my neck or, worse, a leg; I'd freeze or starve before Leo would assist me. Because one day, when I'd climbed the stairs successfully and without fear, I'd had an old Brian Eno song running through my head ('In New Delhi, 'And Hong Kong,' They all know that it won't be long...'), I now had to sing it to myself each trip up or down the stairs. And each time I crossed the footbridge over the river, twice a day, I had to stop and scoop around in the coffee-colored snow at the road's edge until I found a decent-sized rock. I would then lean over the icy railing and drop it into the rapid current that bubbled over the speckled dinosaur eggs of granite which made up its bed - a gift to the river-god, maybe, for safe crossing, or perhaps some attempt to prove to it that I, though invisible, did exist. The water ran so shallow and clear in places that sometimes I heard the dropped stone click as it hit the bed. Both hands on the icy rail, staring down at the water as it dashed white against the boulders, boiled thinly over the polished stones, I wondered what it would be like to fall and break my head open on one of those bright rocks: a wicked crack, a sudden limpness, then veins of red marbling the glassy water. If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon? Or would I, like the pieces of Leo's mandolin, lodge stubbornly in some quiet place behind a boulder and wait, my clothes washing about me, for spring?

Congress displayed contempt for the city's residents, yet it retained a fondness for buildings and parks. In 1900, the centennial of the federal government's move to Washington, many congressmen expressed frustration that the proud nation did not have a capital to rival London, Paris, and Berlin. The following year, Senator James McMillan of Michigan, chairman of the Senate District Committee, recruited architects Daniel Burnham and Charles McKim, landscape architect Frederick Law Olmsted Jr., and sculptor Augustus Saint-Gaudens to propose a park system. The team, thereafter known as the McMillan Commission, emerged with a bold proposal in the City Beautiful tradition, based on the White City of Chicago's 1893 Columbian Exposition. Their plan reaffirmed L'Enfant's avenues as the best guide for the city's growth and emphasized the majesty of government by calling for symmetrical compositions of horizontal, neoclassical buildings of marble and white granite sitting amid wide lawns and reflecting pools. Eventually, the plan resulted in the remaking of the Mall as an open lawn, the construction of the Lincoln Memorial and Memorial Bridge across the Potomac, and the building of Burnham's Union Station. Commissioned in 1903, when the state of the art in automobiles and airplanes was represented by the curved-dash Olds and the Wright Flyer, the station served as a vast and gorgeous granite monument to rail transportation.

The monument of a great man is not of granite or marble or bronze. It consists of his goodness, his deeds, his love and compassion.

The entrance archway opened onto the vast rotunda of Hyperboree Hall. Its floor was a circular map of the polar regions, where the Arctic seas were made of white marble and the islands were cut-out slabs of polished granite decorated with little figures in minute mosaics, drawn, if Brentford remembered correctly, from the Olaus Magnus and Nicolo Zeno depictions of the North. It mixed almost accurate cartography with phantom islands, mythological monsters, and imaginary people, among whom New Venetians were prone and proud to count themselves.

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I Know" Last night, in the water where Barnett Newman’s line disappeared, I drowned. I swam to the surface, like a black, dark-blue luminous blossom. It’s terrible to be a flower. The world stopped. Mute, like velvet, I opened, perhaps for good. Before, with Tomaž Brejc, we talked about the mystique of finance, about the eye, the triangle, about God, possible readings of chance, of Slovenian history and destiny. Don’t touch me. I’m the greatest capital just as I am. I’m the water in which the destiny of the world takes place for us. I’m dizzy. I don’t understand. I know. Tonight, when I made love, I reported. I’m a black cube now, like marble or granite-from-the-other-world, a bird standing, with yellow feet and an immense yellow beak, my black feathers shining: now the eminent church dignitary, that is: they all wanted me, the blossom. I’m the pure dark blossom standing still on the surface. Untouchable and untouched. Terrifying.

Before we left the chapel, I caught up with my grandfather to make one final plea. “Grandpa,” I said, “we can’t bury Dad’s ashes.” “That’s not your decision to make.” He started to walk away, but I grabbed his sleeve, knowing it would be my last chance. “Wasn’t it his?” I asked. “He wanted to be cremated because he didn’t want to be buried. Please, let us take his ashes out to Montauk.” As soon as the words came out of my mouth, I realized that I’d made a critical mistake. My grandfather realized it, too. He associated Montauk with my father’s frivolous hobbies, such as boating and fishing, activities that had distracted him from the serious business of real estate. “Montauk,” he repeated, almost smiling. “That’s not going to happen. Get in the car.” Sunlight glinted off the marble and granite grave markers as our grandfather, his light blue eyes squinting beneath his enormous eyebrows at the brightness of the day, explained that the tombstone, which was already inscribed with his mother’s and father’s names, would be removed temporarily so my father’s name and dates could be added. As he spoke, he spread his hands wide, like a used-car salesman, bouncing on the balls of his feet, almost jaunty, knowing he was in the presence of a rube. My grandfather followed the letter of the law and then did what he wanted. After my father was cremated, they put his ashes into a metal box and buried them in the ground.

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We would perhaps have observed a little clapboarded white house, badly needing paint, standing back a little from the street between a blacksmith’s shop and a Chinese laundry. In place of the moat we would have noticed only an uneven brick sidewalk, and the courtyard we would have found crowded full of new gravestones of granite and marble. If we were very observing we might have caught a glimpse of the white face of a serious little girl of ten or thereabouts in a second-story window of the house.

The problem with Manhattan, from Woolly’s point of view, the problem with Manhattan was that it was so terribly permanent. What with its towers made of granite and all the miles of pavement stretching as far as the eye can see. Why, every single day, millions of people went pounding along the sidewalks and across the marble-floored lobbies without even putting a dent in them. To make matters worse, Manhattan was absotively filled with expectations. There were so many expectations, they had to build the buildings eighty stories high so they would have enough room to stack them one on top of the other.

His boots scuffed on the steps. Here, Bryce had once knelt. Right here, she’d traded her resting place for Danika’s. He squeezed her hand tighter. Bryce squeezed back, leaning into him as they stepped under the archway. Dry ground lay beyond. Mist, and grayness, and silence. Marble and granite obelisks rose like thick spears, many inscribed—but not with names. Just with strange symbols. Grave markers, or something else? Hunt scanned the gloom, ears straining for any hint of Reapers, of the ruler they sought.

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Many governments have been founded upon the principle of the subordination and serfdom of certain classes of the same race; such were and are in violation of the laws of nature. Our system commits no such violation of nature’s laws. With us, all of the white race, however high or low, rich or poor, are equal in the eye of the law. Not so with the negro. Subordination is his place. He, by nature, or by the curse against Canaan, is fitted for that condition which he occupies in our system. The architect, in the construction of buildings, lays the foundation with the proper material-the granite; then comes the brick or the marble. The substratum of our society is made of the material fitted by nature for it, and by experience we know that it is best, not only for the superior, but for the inferior race, that it should be so. It is, indeed, in conformity with the ordinance of the Creator. It is not for us to inquire into the wisdom of His ordinances, or to question them.

When this world shall have melted like a dream, our house shall live, and stand more imperishable than marble, more solid than granite, selfexistent as God, for it is God Himself — “We dwell in Him.

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Another celebrated building that we saw inside the Fort was the Diwan-i-Khas. Here can be seen in Persian characters the famous inscription, “If a paradise be on the face of the earth, it is this, it is this, it is this.” At the time of the Delhi Durbar in 1903 to celebrate the proclamation of Edward VII as Emperor of India, this exquisite building was used as a supper room. “This is the Chandni Chauk [Silver Street],” said our driver as we passed along Delhi’s main street. “It is the richest street in the world.” “Used to be,” corrected Sam. “It was sacked at least four times and most of its riches carried away.” Nowadays it is the abode of the jewelers and ivory workers of Delhi. Ten miles south of Delhi, amid the ruins of another ancient Delhi, stands the Kutb Minar, which is said to be the most perfect tower in the world and one of the seven architectural wonders of India. Built of marble and sandstone which is dark red at the base, pink in the middle, and orange on the top story, this remarkable structure, 238 feet high, looks almost brand new, yet it was built in A.D. 1200. Close by is another Indian wonder, the Iron Pillar, dating from A.D. 400. A remarkable tribute to Hindu knowledge of metallurgy and engineering, this pillar, some sixteen inches in diameter and twenty-three feet eight inches in height, is made of pure rustless malleable iron and is estimated to weigh more than six tons. Overlooking both the Fort and the city, and approached by a magnificent flight of stone steps, is the Great Mosque, also erected by Emperor Shah Jehan. It has three domes of white marble, two tall minarets, and a front court measuring 450 feet square, paved with granite and inlaid with marble. “Sight-seeing in Delhi is as tiring as doing the Mediterranean,” I

By the time he spotted the City of Naru from afar, moonlight sent long, wiry shadows across the hillside leading up to the towering stone walls. He told himself he could do it. No matter how hard it was to continue carrying her, he was determined to bring her home alive.  Lights flickered from countless braziers mounted hundreds of feet high on the upper part of the city. Naru stood ominous under the garish light of the four moon sisters and as the evening gong sounded from atop a watchtower, Talis knew he had made it.  He stumbled toward the main gates, barely able to stand. A group of soldiers making their rounds noticed and ran over to help.  “Young Master Talis, what’s wrong?” said Baratis, the captain of the guard. His eyes blazed in fear at the sight of Mara. “Is she alive?” “I can’t talk now… open the gates… she’s hurt!”  “Carem and Jorem! Help them,” Baratis shouted. “You! Ride and fetch a healer. Have them run straightaway to House Lei. Now go!” Two soldiers lifted Mara from Talis' arms and carried her while another raced inside the city. Massive steel shafts stared down at them from inside the stone walls as they jogged past. If they weren’t quick about it, she would die. Ahead, Talis could see a soldier speed off on horseback. He prayed that the healer would arrive in time. He ran ahead, urging them to run faster.    Past the gate was the Arena of the Sej Elders, formed of gigantic white granite blocks, rising over everything in the lower part of the city. Stone towers lined the wide avenue leading up to the arena. They had to move faster. The soldiers’ boots clapped against the cobblestone streets as they marched past the arena, finally winding up and around until they reached the gates of the upper city. Up the snaking rise, they charged past merchant shops and eyes that gawked at the soldiers carrying Mara. They continued on to the highest part of the city, beneath the Temple of the Goddess Nestria, the Goddess of the Sky. To Mara’s house, the House of Viceroy Lei and Lady Malvia, daughter of the king and second in line to the throne.  They were going to be furious; Talis knew he was in serious trouble for taking Mara out on the hunt. But he couldn’t think of that, all that mattered was Mara’s life. As the soldiers carried her into the white marble mansion, Talis worried her wounds were too grave to cure. Today was the worst day and he was all to blame. Why did he have to chase after the boar? Two servants ran up and gasped when they noticed Mara and they quickly helped her inside.  Lady Malvia rushed to them, her silver robe swirling.

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When people ask, who am I? my answer is that I am a real estate developer. Real estate is the Witherman way. Dirt courses through our veins. We have bones made of steel and glass, marble and granite, bricks and mortar, and concrete and wood. Some also say we have balls of steel. All good developers do.

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We go on,” wrote Clover, “thru restless water between sheer walls of black to reddish basalt streaked with white marble.” It wasn’t truly marble, but thick ropes of Zoroaster Granite interlaced with dark schist formed 1.75 billion years ago when life on Earth had not progressed beyond a single cell. The ribbons of pale pinkish stone were once living magma in the veins of the earth, now hardened, folded, and warped by tectonic convulsions, brought into the sunlight by the thin knife of the Colorado River. These rocks were the roots of mountains that had long since eroded away.

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Sedimentary rocks are formed by the deposition and then cementation together of material which either eroded from older rocks or was produced biologically – sandstone, limestone and chalk are all examples. Igneous rocks such as granite, on the other hand, solidify from volcanic lava or magma still deep underground. And when sedimentary or igneous rocks are subjected to high temperatures and pressures – caught in the crunch of continental collisions or when magma intrudes up into them – they are transformed physically and chemically, becoming a metamorphic rock like marble or slate.

Alan Morgan, stared in disbelief at the centerpiece. “It’s perfect,” he said. “I need to stop thinking about apps that are going to change the world. Obviously the technology of the future is whatever frequency you and Megan are on.” “I’m not sure we’re on the same frequency,” Drew said. “This note doesn’t sound like her. ‘Sorry I can’t make it to your dinner. Something came up. Talk soon, Megan.’ That’s not her at all. Do you think she’s been kidnapped?” “Yes. This is exactly what kidnappers do.” “Don’t be sarcastic.” “No, really. I’m sure the ransom note will be along any minute.” Drew crossed his arms and started sulking. “Don’t sulk,” Alan said. “That’s my job. I’m the old man who’s turning thirty. Poor me.” “Poor me,” Drew said. “If she sent this note, it’s not a good sign.” “Since when does a polite apology spell trouble?” “When it comes from a girl who doesn’t do polite apologies.” “Maybe she’s changed. People change,” Alan said. “You don’t actually believe that, do you?” “No,” Alan said. “She’s probably going to dump you.” Drew didn’t want to admit it, but he’d been thinking the same thing ever since she’d gone silent on the phone. “You’ve still got me,” Alan said. “I’m going to be single forever,” Drew said. “We’re both going to be single forever,” Alan said. “Just the two of us, living in this big house we bought with our blood money.” “You have to stop saying that, or people will think we’re running a crime syndicate.” Alan went over to the fridge and opened it. “You get the crackers, and I’ll liberate one of the cheese plates,” Alan said. “Why?” “Because it’s too early to open the wine, and we need something to ease our sorrows. Me, turning thirty, and you over getting dumped by a girl before we even had a chance to terrorize Mom.” “I’m not sure it’s too early to open the wine,” Drew said. “What about letting it breathe?” “Is that a real thing?” Alan put the marble cheese board on the polished granite counter between then and flung back the clear plastic wrap. “I thought that was just something Mom said to excuse her afternoon drinking.

Her home would not be constructed out of polished marble or gleaming pine boards. It would be built of obstacles. Rocks from her hikes. New Hampshire granite. Boards marred by beetles. The intricate lace carved by the beetles would remind her every day how magnificent her adversary had been. How beautiful destruction could be.

protests. A wound like that was incredibly dangerous. If he didn’t get her to a healer soon, he knew Mara would die. If anything happened to her, he’d never forgive himself. After a long while, he was too tired to carry her, so he rested for a bit, his breath heaving and stiff arms and legs protesting. Even though it was almost dark, Talis could see that Mara’s face looked white as chalk. He had to keep going, no matter what, no matter how much his legs and back burned from carrying her. By the time he spotted the City of Naru from afar, moonlight sent long, wiry shadows across the hillside leading up to the towering stone walls. He told himself he could do it. No matter how hard it was to continue carrying her, he was determined to bring her home alive. Lights flickered from countless braziers mounted hundreds of feet high on the upper part of the city. Naru stood ominous under the garish light of the four moon sisters and as the evening gong sounded from atop a watchtower, Talis knew he had made it. He stumbled toward the main gates, barely able to stand. A group of soldiers making their rounds noticed and ran over to help. “Young Master Talis, what’s wrong?” said Baratis, the captain of the guard. His eyes blazed in fear at the sight of Mara. “Is she alive?” “I can’t talk now… open the gates… she’s hurt!” “Carem and Jorem! Help them,” Baratis shouted. “You! Ride and fetch a healer. Have them run straightaway to House Lei. Now go!” Two soldiers lifted Mara from Talis' arms and carried her while another raced atop a horse into the city. Massive steel shafts stared down at them from inside the stone walls as they jogged past. If they weren’t quick about it, she would die. Ahead, Talis could see a soldier speed off on horseback. He prayed that the healer would arrive in time. He ran ahead, urging them to run faster. Past the gate was the Arena of the Sej Elders, formed of gigantic white granite blocks, rising over everything in the lower part of the city. Stone towers lined the wide avenue leading up to the arena. They had to move faster. The soldiers’ boots clapped against the cobblestone streets as they marched past the arena, finally winding up and around until they reached the gates of the upper city. Up the snaking rise, they charged past merchant shops and eyes that gawked at the soldiers carrying Mara. They continued on to the highest part of the city, beneath the Temple of the Goddess Nestria, the Goddess of the Sky. To Mara’s house, the House of Viceroy Lei and Lady Malvia, daughter of the king and second in line to the throne. They were going to be furious; Talis knew he was in serious trouble for going with Mara out on the hunt. But he couldn’t think of that, all that mattered was Mara’s life. As the soldiers carried her into the white marble mansion, Talis worried her wounds were too grave to cure. Today was the worst day and he blamed himself. Why hadn’t he stopped Mara from going after the boar? He could have scared it off. She would have been angry at him, but at least she wouldn’t be injured. Two servants ran up and gasped when they noticed Mara. They quickly helped her inside, shouting for help.

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the simplest, least adorned space within the crypt or indeed the entire church. A raised white marble platform, ankle-high, on which lies a slab of gray granite with a surround of rose-colored marble. The granite is engraved with Gaudí’s epitaph. The slab lies perpendicular to a wall of large limestone blocks. On each side of the wall are two similar walls joined at oblique angles, drawing the eye to the grave. Low to the ground is a ribbonlike surround of wrought iron rails designed to hold votive candles, now bare. Instead, a single row of red candles burn brightly at the foot of the tomb. Above it, on a small pedestal, is a graceful statue of the Virgin Mary, holding the infant Jesus. Against the limestone walls, four pedestaled columns rise to the apex of the crypt, framing three tall arches that poke into the apse above.