Mark Heap Quotes

There were two sets of double doors leading out of the antechamber, one marked STACKS and the other TOMES. Not knowing the difference between the two, I headed to the ones labeled STACKS. That was what I wanted. Stacks of books. Great heaps of books. Shelf after endless shelf of books.

Days Pass By Somehow But Nights Now Are Wagon Of Pain Injuries May Heal With Time But Marks Will Always Remain Restless On My Comfortable Bed I Toss And Turn And Try To sleep But Thoughts Are Walking My Head And Formed A Huge Heap The Past Is Flashing Its Scorching Light Beams Tearing Me Apart, Breaking Me At The Seams The Darkness Of My Life Is More Visible In The Dark !!

It takes a heap of sense to write good nonsense

Youth was the time for happiness, its only season; young people, leading a lazy, carefree life, partially occupied by scarcely absorbing studies, were able to devote themselves unlimitedly to the liberated exultation of their bodies. They could play, dance, love, and multiply their pleasures. They could leave a party, in the early hours of the morning, in the company of sexual partners they had chosen, and contemplate the dreary line of employees going to work. They were the salt of the earth, and everything was given to them, everything was permitted for them, everything was possible. Later on, having started a family, having entered the adult world, they would be introduced to worry, work, responsibility, and the difficulties of existence; they would have to pay taxes, submit themselves to administrative formalities while ceaselessly bearing witness--powerless and shame-filled--to the irreversible degradation of their own bodies, which would be slow at first, then increasingly rapid; above all, they would have to look after children, mortal enemies, in their own homes, they would have to pamper them, feed them, worry about their illnesses, provide the means for their education and their pleasure, and unlike in the world of animals, this would last not just for a season, they would remain slaves of their offspring always, the time of joy was well and truly over for them, they would have to continue to suffer until the end, in pain and with increasing health problems, until they were no longer good for anything and were definitively thrown into the rubbish heap, cumbersome and useless. In return, their children would not be at all grateful, on the contrary their efforts, however strenuous, would never be considered enough, they would, until the bitter end, be considered guilty because of the simple fact of being parents. From this sad life, marked by shame, all joy would be pitilessly banished. When they wanted to draw near to young people's bodies, they would be chased away, rejected, ridiculed, insulted, and, more and more often nowadays, imprisoned. The physical bodies of young people, the only desirable possession the world has ever produced, were reserved for the exclusive use of the young, and the fate of the old was to work and to suffer. This was the true meaning of solidarity between generations; it was a pure and simple holocaust of each generation in favor of the one that replaced it, a cruel, prolonged holocaust that brought with it no consolation, no comfort, nor any material or emotional compensation.

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time.

And now, a heap of roses beside the sea, white rugosa beside the foaming hem of shore: brave, waxen candles… And we talk as if death were a line to be crossed. Look at them, the white roses. Tell me where they end.

World-class cereal-eating is a dance of fine compromises. The giant heaping bowl of sodden cereal, awash in milk, is the mark of the novice. Ideally one wants the bone-dry cereal nuggets and the cryogenic milk to enter the mouth with minimal contact and for the entire reaction between them to take place in the mouth. Randy has worked out a set of mental blueprints for a special cereal-eating spoon that will have a tube running down the handle and a little pump for the milk, so that you can spoon dry cereal up out of a bowl, hit a button with your thumb, and squirt milk into the bowl of the spoon even as you are introducing it into your mouth. The next best thing is to work in small increments, putting only a small amount of Cap’n Crunch in your bowl at a time and eating it all up before it becomes a pit of loathsome slime, which, in the case of Cap’n Crunch, takes about thirty seconds.

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail.

When you realise the mountain you've been climbing is just a heap of shit, the fall doesn't feel so far.

Such heaped up platters of cakes of various and almost indescribable kinds, known only to experienced Dutch housewives! There was the doughty doughnut, the tender oly koek, and the crisp and crumbling cruller; sweet cakes and short cakes, ginger cakes and honey cakes, and the whole family of cakes. And then there were apple pies, and peach pies, and pumpkin pies; besides slices of ham and smoked beef; and moreover delectable dishes of preserved plums, and peaches, and pears, and quinces; not to mention broiled shad and roasted chickens; together with bowls of milk and cream, all mingled higgledy-piggledy, pretty much as I have enumerated them, with the motherly teapot sending up its clouds of vapor from the midst-- Heaven bless the mark!

Blow on, ye death fraught whirlwinds! blow, Around the rocks, and rifted caves; Ye demons of the gulf below! I hear you, in the troubled waves. High on this cliff, which darkness shrouds In night's impenetrable clouds, My solitary watch I keep, And listen, while the turbid deep Groans to the raging tempests, as they roll Their desolating force, to thunder at the pole. Eternal world of waters, hail! Within thy caves my Lover lies; And day and night alike shall fail Ere slumber lock my streaming eyes. Along this wild untrodden coast, Heap'd by the gelid' hand of frost; Thro' this unbounded waste of seas, Where never sigh'd the vernal breeze; Mine was the choice, in this terrific form, To brave the icy surge, to shiver in the storm. Yes! I am chang'd - My heart, my soul, Retain no more their former glow. Hence, ere the black'ning tempests roll, I watch the bark, in murmurs low, (While darker low'rs the thick'ning' gloom) To lure the sailor to his doom; Soft from some pile of frozen snow I pour the syren-song of woe; Like the sad mariner's expiring cry, As, faint and worn with toil, he lays him down to die. Then, while the dark and angry deep Hangs his huge billows high in air ; And the wild wind with awful sweep, Howls in each fitful swell - beware! Firm on the rent and crashing mast, I lend new fury to the blast; I mark each hardy cheek grow pale, And the proud sons of courage fail; Till the torn vessel drinks the surging waves, Yawns the disparted main, and opes its shelving graves. When Vengeance bears along the wave The spell, which heav'n and earth appals; Alone, by night, in darksome cave, On me the gifted wizard calls. Above the ocean's boiling flood Thro' vapour glares the moon in blood: Low sounds along the waters die, And shrieks of anguish fill the' sky; Convulsive powers the solid rocks divide, While, o'er the heaving surge, the embodied spirits glide. Thrice welcome to my weary sight, Avenging ministers of Wrath! Ye heard, amid the realms of night, The spell that wakes the sleep of death. Where Hecla's flames the snows dissolve, Or storms, the polar skies involve; Where, o'er the tempest-beaten wreck, The raging winds and billows break; On the sad earth, and in the stormy sea, All, all shall shudd'ring own your potent agency. To aid your toils, to scatter death, Swift, as the sheeted lightning's force, When the keen north-wind's freezing breath Spreads desolation in its course, My soul within this icy sea, Fulfils her fearful destiny. Thro' Time's long ages I shall wait To lead the victims to their fate; With callous heart, to hidden rocks decoy, And lure, in seraph-strains, unpitying, to destroy.

Metal is made up of many silly cliches, and Dio's songs rarely shied away from a good cheeseball lyric about medieval knights and crystal balls. But the amazing thing is, Dio the man never succumbed to the typical ravages of drugs, booze or hideous all-body tattoos. He never gained 75 pounds later in life or lost most of his voice through merciless shredding and ended it all playing county fairs for 19 drunk dudes in a barn before collapsing in a heap in a motel room in Jersey. There's a lesson in there somewhere. Or everywhere.

If you have read this far in the chronicle of the Baudelaire orphans - and I certainly hope you have not - then you know we have reached the thirteenth chapter of the thirteenth volume in this sad history, and so you know the end is near, even though this chapter is so lengthy that you might never reach the end of it. But perhaps you do not yet know what the end really means. "The end" is a phrase which refers to the completion of a story, or the final moment of some accomplishment, such as a secret errand, or a great deal of research, and indeed this thirteenth volume marks the completion of my investigation into the Baudelaire case, which required much research, a great many secret errands, and the accomplishments of a number of my comrades, from a trolley driver to a botanical hybridization expert, with many, many typewriter repairpeople in between. But it cannot be said that The End contains the end of the Baudelaires' story, any more than The Bad Beginning contained its beginning. The children's story began long before that terrible day on Briny Beach, but there would have to be another volume to chronicle when the Baudelaires were born, and when their parents married, and who was playing the violin in the candlelit restaurant when the Baudelaire parents first laid eyes on one another, and what was hidden inside that violin, and the childhood of the man who orphaned the girl who put it there, and even then it could not be said that the Baudelaires' story had not begun, because you would still need to know about a certain tea party held in a penthouse suite, and the baker who made the scones served at the tea party, and the baker's assistant who smuggled the secret ingredient into the scone batter through a very narrow drainpipe, and how a crafty volunteer created the illusion of a fire in the kitchen simply by wearing a certain dress and jumping around, and even then the beginning of the story would be as far away as the shipwreck that leftthe Baudelaire parents as castaways on the coastal shelf is far away from the outrigger on which the islanders would depart. One could say, in fact, that no story really has a beginning, and that no story really has an end, as all of the world's stories are as jumbled as the items in the arboretum, with their details and secrets all heaped together so that the whole story, from beginning to end, depends on how you look at it. We might even say that the world is always in medias res - a Latin phrase which means "in the midst of things" or "in the middle of a narrative" - and that it is impossible to solve any mystery, or find the root of any trouble, and so The End is really the middle of the story, as many people in this history will live long past the close of Chapter Thirteen, or even the beginning of the story, as a new child arrives in the world at the chapter's close. But one cannot sit in the midst of things forever. Eventually one must face that the end is near, and the end of The End is quite near indeed, so if I were you I would not read the end of The End, as it contains the end of a notorious villain but also the end of a brave and noble sibling, and the end of the colonists' stay on the island, as they sail off the end of the coastal shelf. The end of The End contains all these ends, and that does not depend on how you look at it, so it might be best for you to stop looking at The End before the end of The End arrives, and to stop reading The End before you read the end, as the stories that end in The End that began in The Bad Beginning are beginning to end now.

We saw rude piles of stones standing near the roadside, at intervals, and recognized the custom of marking boundaries which obtained in Jacob's time. There were no walls, no fences, no hedges—nothing to secure a man's possessions but these random heaps of stones. The Israelites held them sacred in the old patriarchal times, and these other Arabs, their lineal descendants, do so likewise. An American, of ordinary intelligence, would soon widely extend his property, at an outlay of mere manual labor, performed at night, under so loose a system of fencing as this.

It wasn’t beautiful. A Winter wedding is a union of elation and depression, red velvet blankets in a cheap motel room stained with semen from sex devoid of meaning, and black mold clinging to the fringe of floral shower curtains like a heap of dead forevers. You sat down at the foot of the bed, looking at me like I had already
driven away. I was thinking about watching CNN. How fucked up is that? I wanted to know that your second hand, off-white dress, and my black polyester bow tie wasn’t as tragic as a hurricane devouring a suburb, or a train derailment in no where, Virginia, ending the lives of two young college hopefuls. I was naïve. I thought that there were as many right ways to feel love as the amount of
 pubic hair, 
 belly lint, and 
scratch marks abandoned by lovers in our honeymoon suite. When you looked at me in bed that night, I put my hand on your chest to feel a little more human. I don’t know what to call you; a name does not describe the aches, or lack of. This love is unusual and comfortable. If you were to leave, I know I’d search for days, in newspapers and broadcasts, in car accidents and exposés on genocide in Kosovo. (How do I address this? How is one to feel about a love without a name?) My heart would be ambivalent, too scared to look for you behind the curtains of the motel window, outside in the abyss of powder and pay phones because I don’t know how to love you. -Kosovo

My, you ought to seen old Henry the Eight when he was in bloom. He was a blossom. He used to marry a new wife every day, and chop off her head next morning. And he would do it just as indifferent as if he was ordering up eggs. 'Fetch up Nell Gwynn,' he says. They fetch her up. Next morning, 'Chop off her head!' And they chop it off. 'Fetch up Jane Shore,' he says; and up she comes, Next morning, 'Chop off her head'—and they chop it off. 'Ring up Fair Rosamun.' Fair Rosamun answers the bell. Next morning, 'Chop off her head.' And he made every one of them tell him a tale every night; and he kept that up till he had hogged a thousand and one tales that way, and then he put them all in a book, and called it Domesday Book—which was a good name and stated the case. You don't know kings, Jim, but I know them; and this old rip of ourn is one of the cleanest I've struck in history. Well, Henry he takes a notion he wants to get up some trouble with this country. How does he go at it—give notice?—give the country a show? No. All of a sudden he heaves all the tea in Boston Harbor overboard, and whacks out a declaration of independence, and dares them to come on. That was his style—he never give anybody a chance. He had suspicions of his father, the Duke of Wellington. Well, what did he do? Ask him to show up? No—drownded him in a butt of mamsey, like a cat. S'pose people left money laying around where he was—what did he do? He collared it. S'pose he contracted to do a thing, and you paid him, and didn't set down there and see that he done it—what did he do? He always done the other thing. S'pose he opened his mouth—what then? If he didn't shut it up powerful quick he'd lose a lie every time. That's the kind of a bug Henry was; and if we'd a had him along 'stead of our kings he'd a fooled that town a heap worse than ourn done. I don't say that ourn is lambs, because they ain't, when you come right down to the cold facts; but they ain't nothing to that old ram, anyway. All I say is, kings is kings, and you got to make allowances. Take them all around, they're a mighty ornery lot. It's the way they're raised.

Don’t let your imagination be crushed by life as a whole. Don’t try to picture everything bad that could possibly happen. Stick with the situation at hand, and ask, “Why is this so unbearable? Why can’t I endure it?” You’ll be embarrassed to answer. Then remind yourself that past and future have no power over you. Only the present—and even that can be minimized. Just mark off its limits. And if your mind tries to claim that it can’t hold out against that … well, then, heap shame upon it.

While I told myself that each win was a small deposit on the ultimate ownership of the world welterweight crown, the enormous need in me to win touched a whole heap of other responses a fourteen years old can't really work out. It had something to do with rejecting the Lord, with my mother, the Judge, being surrounded by guys who came from wealthy homes, even my headless snake. While I didn't think of it as camouflage, I now know that it was, that I kept myself protected by being out in front. Too far in front to be an easy mark.

This all reminds me of a line from Psalm 39: “In vain they rush about, heaping up wealth without knowing whose it will finally be.”23

One new mound was there which had not been there last night. Time, burrowing like a mole below the ground, had marked his track by throwing up another heap of earth. And that was all.

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

Just as we look back in horror at the lives of people five hundred years ago, I imagine people five hundred years from now will laugh at us and our certainties today. They will laugh at how we let our money and our jobs define our lives. They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything. They will laugh at our rituals and

Some hangovers are so horrific that it seems the whole world rocks and sways around you, the very walls creaking with the motion. Others are relatively mild and it just turns out that in your drunkenness a collection of Vikings have thrown you onto a heap of coiled ropes in their longship and set to sea. “Oh, you bastards.” I cracked open an eye to see a broad sail flapping overhead and gulls wheeling far above me beneath a mackerel sky.

Some of them had bits of cloth still on them, but most were nothing but whorls and spars of bone. They were a mess of bony apostrophes, commas, and exclamation marks brushed off some giant’s notebook into a tangled, ungrammatical heap.

Then remind yourself that past and future have no power over you. Only the present—and even that can be minimized. Just mark off its limits. And if your mind tries to claim that it can’t hold out against that … well, then, heap shame upon it.

Then remind yourself that past and future have no power over you. Only the present—and even that can be minimized. Just mark off its limits. And if your mind tries to claim that it can’t hold out against that . . . well, then, heap shame upon it.

36. Don’t let your imagination be crushed by life as a whole. Don’t try to picture everything bad that could possibly happen. Stick with the situation at hand, and ask, “Why is this so unbearable? Why can’t I endure it?” You’ll be embarrassed to answer. Then remind yourself that past and future have no power over you. Only the present—and even that can be minimized. Just mark off its limits. And if your mind tries to claim that it can’t hold out against that … well, then, heap shame upon it.

The stupid shit we got mad at meant nothing when you get right down to it. There’s family, there’s love…that’s it. The rest is bullshit that we heap on ourselves. ‘We’ complicate our lives. We’ve always striven to make the world a harder place than it needed to be. Family and love.

Just as we look back in horror at the lives of people five hundred years ago, I imagine people five hundred years from now will laugh at us and our certainties today. They will laugh at how we let our money and our jobs define our lives. They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything. They will laugh at our rituals and superstitions, our worries and our wars; they will gawk at our cruelty. They will study our art and argue over our history. They will understand truths about us of which none of us are yet aware. And they, too, will be wrong. Just less wrong than we were.

On all sides, as far as the eye could reach, rose the grass-covered heaps marking the site of ancient habitations. The great tide of civilisation had long since ebbed, leaving these scattered wrecks on the solitary shore. Are those waters to flow again, bearing back the seeds of knowledge and of wealth that they have wafted to the West? We wanderers were seeking what they had left behind, as children gather up the coloured shells on the deserted sands. At my feet there was a busy scene, making more lonely the unbroken solitude which reigned in the vast plain around, where the only thing having life or motion were the shadows of the lofty mounds as they lengthened before the declining sun.

AIDS patients were treated as trash. Those who died were sometimes refused embalming, funerals, and burial. Some were actually put in the trash heap outside of hospitals. Those of us who fought for dignity in death were forced to take on the government, the health care system, and, in some cases, our very own community. It was a war and it was hell for the victims and survivors.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

After we had turned from the Muski into the narrower ways of the bazaar, the starlight was cut off by the houses looming high on either hand, and the farther we penetrated into the heart of the maze, the darker it became. The protruding balconies with their latticed wooden shutters jutted into the street, almost meeting overhead. Occasionally a lighted window spilled a golden glimmer onto the pathway, but most of the windows were dark. Parallel slits of light marked closed shutters. The darkness teemed with foul movement; rats glided behind heaps of refuse; lean, vicious stray dogs slunk into even narrower passageways as we approached. The rank stench of rotting fruit, human waste and infected air filled the tunnel-like street like a palpable liquid, clogging the nostrils and the lungs.

36. Don’t let your imagination be crushed by life as a whole. Don’t try to picture everything bad that could possibly happen. Stick with the situation at hand, and ask, “Why is this so unbearable? Why can’t I endure it?” You’ll be embarrassed to answer. Then remind yourself that past and future have no power over you. Only the present—and even that can be minimized. Just mark off its limits. And if your mind tries to claim that it can’t hold out against that … well, then, heap shame upon it.

Montreal Transcript, January 1848: From Grosse Île, the great charnel house of victimised humanity, up to Port Sarnia – along the borders of our magnificent river, upon the shores of Lakes Ontario and Erie, and wherever the tide of immigration has extended, are to be found the resting places of the sons and daughters of Erin – one unbroken chain of graves where repose fathers and mothers, sisters and brothers in one comingled heap, without a tear bedewing the soil or a stone to mark the spot.

Just as we look back in horror at the lives of people 500 years ago, I imagine people 500 years from now will laugh at us and our certainties today. They will laugh at how we let our money and our jobs define our lives. They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything. They will laugh at our rituals and superstitions, our worries and our wars; they will gawk at our cruelty. They will study our art and argue over our history. They will understand truths about us of which none of us are yet aware. And they, too, will be wrong. Just less wrong than we were.

one helped him through the window. Every inch of his body ached and his muscles were rubber, but somehow he managed to make it on his own, falling to the floor of the cockpit in a heap. Alec sat hunched over the controls, his face slack and his eyes empty. Trina sat in the corner, Deedee huddled in her lap. Both of them looked at him, but their expressions were unreadable. “Flat Trans,” Mark blurted out. Sparkles and flashes of light continued to cross his field of vision, and he could barely contain the unstable emotions that churned within him. “Bruce said the PFC had a Flat Trans in Asheville. We have to find it.” Alec’s head snapped up and he glared at Mark. But then something softened in his gaze. “I think I know where to

One was taught that such things could not be; that things like Coleridge’s ‘Cristabel’ or Bram Stoker’s evil fairy tale were only the warp and woof of fantasy. Of course monsters existed; they were the men with their fingers on the thermonuclear triggers in six countries, the hijackers, the mass murderers, the child molesters. But not this. One knows better. The mark of the devil on a woman’s breast is only a mole, the man who came back from the dead and stood at his wife’s door dressed in the cerements of the grave was only suffering from locomotor ataxia, the bogey-man who gibbers and capers in the comer of a child’s bedroom is only a heap of blankets. Some clergymen had proclaimed that even God, that venerable white warlock, was dead.

One was taught that such things could not be; that things like Coleridge’s “Cristabel” or Bram Stoker’s evil fairy tale were only the warp and woof of fantasy. Of course monsters existed; they were the men with their fingers on the thermonuclear triggers in six countries, the hijackers, the mass murderers, the child molesters. But not this. One knows better. The mark of the devil on a woman’s breast is only a mole, the man who came back from the dead and stood at his wife’s door dressed in the cerements of the grave was only suffering from locomotor ataxia, the bogeyman who gibbers and capers in the corner of a child’s bedroom is only a heap of blankets. Some clergymen had proclaimed that even God, that venerable white warlock, was dead.

On the insides of my eyelids I could see the water moving, the blue heaps of the waves as we came across the Lake, with the light sparkling on them; only they were much bigger waves, and darker, like rolling hills; and they were the waves of the ocean which I had voyaged across three years before, though it seemed like a century. And I wondered what would become of me, and comforted myself that in a hundred years I would be dead and at peace, and in my grave; and I thought it might be less trouble altogether, to be in it a good deal sooner than that. But the waves kept moving, with the white wake of the ship traced in them for an instant, and then smoothed over by the water. And it was as if my own footsteps were being erased behind me, the footsteps I’d made as a child on the beaches and pathways of the land I’d left, and the footsteps I’d made on this side of the ocean, since coming here; all the traces of me, smoothed over and rubbed away as if they had never been, like polishing the black tarnish from the silver, or drawing your hand across dry sand. On the edge of sleep I thought: It’s as if I never existed, because no trace of me remains, I have left no marks. And that way I cannot be followed. It is almost the same as being innocent.

For Jesus’ first followers, then, his death and resurrection were now the single, ultimate ‘sign’. Prophets like Amos had been forerunners. God has now spoken through the Son, once and for all. For us to try to read God’s secret code off the pages of the newspapers may look clever. We may even get a reputation for spiritual insight – but actually, we are doing it because we have forgotten where the true key to understanding is now to be found. Similarly, any claim to tell from world events when the ‘second coming’ will occur is a claim to know more than Jesus himself (Mark 13.32). Jesus himself is the reason why people should turn from idolatry, injustice and all wickedness. The cross is where all the world’s sufferings and horrors have been heaped up and dealt with. The resurrection is the launch of God’s new creation, of his sovereign saving rule on earth – starting with the physical body of Jesus himself. Those events are now the summons to repent and the clue to what God is doing in the world. Trying to jump from an earthquake, a tsunami, a pandemic or anything else to a conclusion about ‘what God is saying here’ without going through the Gospel story is to make the basic theological mistake of trying to deduce something about God while going behind Jesus’ back.

These inventions became, incidentally, increasingly revolting to me, for I was ineradicably marked by a touch of the old cavalryman's primitive evaluation. I admit that in the earliest times the horseman had a considerable advantage over the foot soldier. (On the other hand considerably higher expenses were involved.) But the advantage was balanced by the invention of gunpowder, so rightly lamented by Ariosto. It was the end of glorious armies like those led by Charles the Bold. Cavalry charges still took place of course – and I cannot consider it unfair for the infantryman to load and fire two or three times before he received his comeuppance – but after that, death came to the cavalry. The old Centaurs were overpowered by the new Titan. I had seen my own conqueror at close hand when I lay bleeding on the grass. He had unhorsed me – a sickly fellow, a pimply lad from the suburbs, some cutler from Sheffield or weaver from Manchester. He cowered behind his rubble heap, one eye shut, the other aiming at me across the machine gun, which did the damage. In a pattern of red and gray, he wove an evil cloth. This was the new Polyphemus or, rather, one of his lowest messenger boys with a wire mask before his one-eyed face. This was how the present masters looked. The beauty of the forests was past.

So much for Caligula as emperor; we must now tell of his career as a monster.... He lived in habitual incest with all his sisters, and at a large banquet he placed each of them in turn below him, while his wife reclined above. Many men of honourable rank were first disfigured with the marks of branding-irons and then condemned to the mines, to work at building roads, or to be thrown to the wild beasts; or else he shut them up in cages on all fours, like animals, or had them sawn asunder. Not all these punishments were for serious offences, but merely for criticising one of his shows, or for never having sworn by his genius. Having asked a man who had been recalled from an exile of long standing, how in the world he spent his time there, the man replied by way of flattery: "I constantly prayed the gods for what has come to pass, that Tiberius might die and you become emperor." Thereupon Caligula, thinking that his exiles were likewise praying for his death, sent emissaries from island to island to butcher them all. Wishing to have one of the senators torn to pieces, he induced some of the members to assail him suddenly, on his entrance into the House, with the charge of being a public enemy, to stab him with their styles, and turn him over to the rest to be mangled; and his cruelty was not sated until he saw the man's limbs, members, and bowels dragged through the streets and heaped up before him. He used to say that there was nothing in his own character which he admired and approved more highly than what he called his ἀδιατρεψία, that is to say, his shameless impudence. He seldom had anyone put to death except by numerous slight wounds, his constant order, which soon became well-known, being: "Strike so that he may feel that he is dying." When a different man than he had intended had been killed, through a mistake in the names, he said that the victim too had deserved the same fate. He even used openly to deplore the state of his times, because they had been marked by no public disasters, saying that the rule of Augustus had been made famous by the Varus massacre, and that of Tiberius by the collapse of the amphitheatre at Fidenae,​ while his own was threatened with oblivion because of its prosperity; and every now and then he wished for the destruction of his armies, for famine, pestilence, fires, or a great earthquake. While he was lunching or revelling capital examinations by torture were often made in his presence, and a soldier who was adept at decapitation cut off the heads of those who were brought from prison. At a public banquet in Rome he immediately handed a slave over to the executioners for stealing a strip of silver from the couches, with orders that his hands be cut off and hung from his neck upon his breast, and that he then be led about among the guests.

Once I reached the door, I paused with my hand near the sensor, listening. At first, all I heard were heavy breaths that turned into sobs. Then Akos screamed, and there was a loud crash, followed by another one. He screamed again, and I pressed my ear to the door to listen, my lower lip trapped between my teeth. I bit down so hard I tasted blood when Akos’s screams turned to sobs. I touched the sensor, opening the door. He was sitting on the floor in the bathroom. There were pieces of shattered mirror all around him. He had ripped the shower curtain from the ceiling and the towel rack from the wall. He didn’t look up at me when I came in, or even when I walked carefully across the fragments of glass to reach him. I knelt among the shards, and reached over his shoulder to turn the shower on. I waited until the water warmed up, then tugged him by his arm toward the spray. I stood in the shower with him, fully clothed. His breaths came in sharp bursts against my cheek. I put my hand on the back of his neck and pulled his face toward the water. He closed his eyes and let it hit his cheeks. His trembling fingers sought mine, and he clutched my hand against his chest, against his armor. We stood together for a long time, until his tears subsided. Then I turned the water off, and led him into the kitchen, scattering mirror pieces with my toes as I walked. He was staring into middle distance. I wasn’t sure that he knew where he was, or what was happening to him. I undid the straps of his armor and guided it over his head; I pinched the hem of his shirt and peeled the wet fabric away from his body; I unbuttoned his pants and let them drop to the floor in a soaking-wet heap. I had daydreamed about seeing him this way, and even about one day undressing him, taking away some of the layers that separated us, but this was not a daydream. He was in pain. I wanted to help him.

Testament prophet.39 However, what was this prophet doing? Why was he encouraging Israelites to be baptized in the Jordan River? The answer to these questions comes from John’s actions as well as from his words concerning his ministry. First, John appeared “baptizing in the wilderness and preaching a baptism of repentance for the remission of sins. Then all the land of Judea, and those from Jerusalem, went out to him and were all baptized by him in the Jordan River” (Mark 1:4–5). There are two issues that merit attention: the significance of the Jordan River and the repentance of sins. The geographical location of John’s baptismal ministry is key. John could have chosen a number of places to perform his baptizing ministry, but he chose the Jordan, which was the gate to the Promised Land and the place where Israel re-enacted the Red Sea crossing. When the feet of the Levites touched the waters of the Jordan, the waters stopped flowing and the Israelites crossed the river on dry ground (Josh. 3:11–17). Just as the Holy Spirit in the glory cloud led Israel through the Red Sea, the ark of the Lord led Israel through the Jordan on dry ground to the Land of Promise. The connection between the two events is manifest in the word play in both narratives. The priests, for example, stood on dry ground (בחרבה) (Josh. 3:17), just as Moses turned the sea into dry land (לחרבה) (Ex. 14:21).40 Likewise, the waters of the Jordan “stood still, and rose in a heap” (קמו נד אחד) (Josh. 3:16), just as the waters of the Red Sea “stood upright like a heap” (נצבו כמו נד) (Ex. 15:8; cf. Ps. 78:13).41 Given these parallels between the Red Sea and Jordan River crossings, it seems that John’s activity in the Jordan was connected not only to the idea of a cleansing ritual, but also to the redemptive-historical significance of the Jordan. The connections between the Red Sea, the Jordan River, and John’s

I pushed forward suddenly, the head of his cock teasing my entrance open in bliss. But a sudden jerk from Ryker left me painfully empty once more, and I whined in frustration. "Just say it," he teased. "Do you like it a little rough? All you have to do is say yes." Fine. Ass. "Yes," I hissed. "Yes, I do." Instant pressure hit me as he slid his length into me in one go. I was so wet, there was no friction stopping him as he filled me completely. Tight, hot, hard. I took in a sharp breath and he gave me a satisfied hum. "There now, that wasn't so hard," he mused. Smack. Ryker shoved into me just a little harder at the same time he smacked me right on the mark, and I screamed. I was so hot, and wet, and full of him that I could hardly keep myself from unraveling. Thankfully, his hands stayed firmly in place, helping to hold me still as he slid out again, only to thrust inside once more. "Fuck, Danica," Ryker rumbled. "Your pretty little ass is turning the hottest shade of pink." I was breathless as Ryker thrust again and again, pushing me higher and higher. Sometimes he would smack the mark again, and I was sure I would be feeling it in the morning but I couldn't bring myself to care. All I could care about was Ryker and what he did to me. I felt wholly and truly right with him, and my head was in a fog as the orgasm hit me hard. "Ryker!" I shouted as he thrust at just the right moment and all the tight muscles in my body came loose. Floating, floating and falling and clenching and dropping into a boneless heap. I was still reeling from the high he had started in me when I felt his hot release as well. Ryker came hard, gripping my hip as he shoved in as deep as he could. The hot, burning stretch of him shoving so hard coupled with the intensity of my own postorgasm shaking pulled another cry from me. When we were both spent and he was still over me, staring down in satisfied confidence, he leaned in with a light kiss. "Good girl, you take me so fucking well." My ass stung, I was filled to the brim, and I liked it. Releasing my hip, he slid out of me and I groaned at the fleeting feeling of fullness. When wetness trickled out of me, more than just my own arousal, I pressed my thighs together.

I need you to say it." Ryker's hot breath was on my neck, his hand on my hip, and he was ready to sink into me the second he got his answer. All I had to do was admit it. Or I could try to take matters into my own hands just to fuck with him. I pushed forward suddenly, the head of his cock teasing my entrance open in bliss. But a sudden jerk from Ryker left me painfully empty once more, and I whined in frustration. "Just say it," he teased. "Do you like it a little rough? All you have to do is say yes." Fine. Ass. "Yes," I hissed. "Yes, I do." Instant pressure hit me as he slid his length into me in one go. I was so wet, there was no friction stopping him as he filled me completely. Tight, hot, hard. I took in a sharp breath and he gave me a satisfied hum. "There now, that wasn't so hard," he mused. Smack. Ryker shoved into me just a little harder at the same time he smacked me right on the mark, and I screamed. I was so hot, and wet, and full of him that I could hardly keep myself from unraveling. Thankfully, his hands stayed firmly in place, helping to hold me still as he slid out again, only to thrust inside once more. "Fuck, Danica," Ryker rumbled. "Your pretty little ass is turning the hottest shade of pink." I was breathless as Ryker thrust again and again, pushing me higher and higher. Sometimes he would smack the mark again, and I was sure I would be feeling it in the morning but I couldn't bring myself to care. All I could care about was Ryker and what he did to me. I felt wholly and truly right with him, and my head was in a fog as the orgasm hit me hard. "Ryker!" I shouted as he thrust at just the right moment and all the tight muscles in my body came loose. Floating, floating and falling and clenching and dropping into a boneless heap. I was still reeling from the high he had started in me when I felt his hot release as well. Ryker came hard, gripping my hip as he shoved in as deep as he could. The hot, burning stretch of him shoving so hard coupled with the intensity of my own postorgasm shaking pulled another cry from me. When we were both spent and he was still over me, staring down in satisfied confidence, he leaned in with a light kiss. "Good girl, you take me so fucking well." My ass stung, I was filled to the brim, and I liked it. Releasing my hip, he slid out of me and I groaned at the fleeting feeling of fullness. When wetness trickled out of me, more than just my own arousal, I pressed my thighs together.

Just as we look back in horror at the lives of people five hundred years ago, I imagine people five hundred years from now will laugh at us and our certainties today. They will laugh at how we let our money and our jobs define our lives. They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything

There’s something almost orgasmic about getting out from under a heap of trouble, winning free and thumbing your nose at it. Tomorrow maybe that same trouble will be waiting around a corner for you, but today, right now, it’s beaten, left in the dust. Cowards, overburdened with imagination as we are, spend most of our attention on the future, worrying what’s coming next, so when that rare opportunity to live in the moment arrives I seize it with as many hands as I’ve got spare.

Bless you, it hasn't," rumbled Ellen. "The day never goes by for men and nations to make asses of themselves and take to the fists. The millenniun isn't THAT near, Mr. Meredith, and YOU don't think it is any more than I do. As for this Kaiser, mark my words, he is going to make a heap of trouble"—and Miss Ellen prodded her book emphatically with her long finger. "Yes, if he isn't nipped in the bud he's going to make trouble. WE'LL live to see it—you and I will live to see it, Mr. Meredith. And who is going to nip him? England should, but she won't. WHO is going to nip him? Tell me that, Mr.

The web nearness of your organization assumes a huge part in the accomplishment of your business. These days, business people like to do online research of your organization and study your site completely before contributing or marking any business contract. Business visionaries who are not usual with web extends and don't know how to choose the ideal website architecture organization regularly arrive up picking the wrong one. Benefiting the administrations of a wrong website architecture firm can deliver pulverizing impacts and influence your business unfavorably. In any case, as indicated by website architecture specialists, there are few focuses which ought to be mulled over while choosing the ideal website architecture organization. Such focuses may include: Website architecture Pricing: Decent quality web architecture guarantees fantastic business openings. In the realm of web outlining, a great quality Designer requests a nice cost, while a minimal effort likens to pitiable quality. In any case, few web organizations offer starting quotes and shroud the genuine cost which in the long run heaps up. In few cases, regularly customer’s grumble of working with "Markdown Web Design Companies" which guarantees of a diminished cost however brings about loss of time alongside cash. Subsequently, choice of web organizations on the premise of estimating ought to be deliberately directed. Search engine optimization Services: Such administrations concentrate on enhancing the positioning of your site in different web indexes like Google and Bing. Higher web search tools draw in the natural leads, which are gotten without paying a penny to Google. On the off chance that the viability of SEO is dismissed, even a pulling in and magnificent showcasing system won't have the capacity to draw in guests to your site.

They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything.

After a long nap, the Americans spent the rest of the afternoon watching preparations for the fiesta. They helped set up large wooden tables on the patio. Bananas, oranges, limes, and avocados were heaped on some of the tables. Food that was cooking gave off tantalizing odors. “This will be a gastronomic adventure!” Chet exclaimed as he viewed the preparations hungrily.

[He's] the cherry on top of a compost heap ... The great risk for Malcolm is that he doesn't remain a cherry but turns into a sultana.

Love your enemies and pray for those who persecute you” (Matthew 5:44). This is to show the mind of Christ. This is the right way to heap coals of fire on an enemy’s head and to melt foes into friends (Romans 12:20).

Newton was open and honest about his weaknesses, and this honesty marked his entire forty-year ministry. Nothing in his service was not in some way “debased, polluted, and spoiled by my depraved nature.” “I am a riddle to myself,” he wrote, “a heap of inconsistence.”20 This was never an excuse to shrug off obedience or justify scandalous sin, but it was a disclosure of grace intended to break and humble him. Every Christian must feel something of the same.

The village had survived many such storms. They knew what to expect – before, during, and afterward The Plains of Megiddo were a silent void. Nothing stirred – no wind, no birds, no animals. Even the buildings that marked where the roads joined were blanketed by sand, rendering them all the same shade of sunlit yellow. The stone walls that had faced the storm’s wrath were all heaped with sand as high as the roofs. Doors had to be forced open. The finest dust had sifted through the sealed portals and now coated every surface. The work done in the village above had to be repeated here, but there was no rush. Yelban predicted it would be at least a week before the next caravans arrived, perhaps longer.

carried the Makarov outside to watch the fireworks. Thirty yards beyond the spot where Brendan Magill lay dead was a rock wall running on a north-south axis. Gabriel took cover behind it after a 7.62x39mm round shredded the air a few inches from his right ear. Keller hit the ground next to him as rounds exploded against the stones of the wall, sending sparks and fragments flying. The source of the fire was silenced, so Gabriel had only a vague idea of the direction from which it was coming. He poked his head above the wall to search for a muzzle flash, but another burst of rounds drove him downward. Keller was now crawling northward along the base of the wall. Gabriel followed after him, but stopped when Keller suddenly opened up with the dead man’s AK-47. A distant scream indicated that Keller’s rounds had found their mark, but in an instant they were taking fire from several directions. Gabriel flattened himself on the ground at Keller’s side, the Glock in one hand, the dead man’s phone in the other. After a few seconds he realized it was pulsing with an incoming text. The text was apparently from Eamon Quinn. It read KILL THE GIRL . . . 79 CROSSMAGLEN, SOUTH ARMAGH A MID THE HEAP OF BROKEN and dismembered farm implements in Jimmy Fagan’s shed, Katerina had found a scythe, rusted and caked in mud, a museum piece, perhaps the last scythe in the whole of Ireland, north or south. She held it tightly in her hands and listened to the sound of men pounding up the track at a sprint. Two men, she thought, perhaps three. She positioned herself against the shed’s sliding door. Madeline was at the opposite end of the space, hooded, hands bound, her back to the bales of hay. She was the first and only thing the men would see upon entry. The latch gave way, the door slid open, a gun intruded. Katerina recognized its silhouette: an AK-47 with a suppressor attached to the barrel. She knew it well. It was the first weapon she had ever fired at the camp. The great AK-47! Liberator of the oppressed! The gun was pointed upward at a forty-five-degree angle. Katerina had no choice but to wait until the barrel sank toward Madeline. Then she raised the scythe and swung it with every ounce of strength she had left in her body. Two hundred yards away, crouched behind a stone wall at the western edge of Jimmy Fagan’s property, Gabriel showed the text message to Christopher Keller. Keller immediately poked his head above the wall and saw muzzle flashes in the doorway of the shed. Four flashes, four shots, more than enough to obliterate two lives. A burst of AK-47 fire drove him downward again. Eyes wild, he grabbed Gabriel savagely by the front of his coat and shouted, “Stay here!” Keller hauled himself over the wall and vanished from sight. Gabriel lay there for a few seconds as the rounds rained down on his position. Then suddenly he was on his feet and running across the darkened pasture. Running toward a car in a snowy square in Vienna. Running toward death. The blow that Katerina delivered to the neck of the man holding the AK-47 resulted in a partial decapitation. Even so, he had managed to squeeze off a shot before she wrenched the gun from his grasp—a shot that struck the hay bales a few inches from Madeline’s head. Katerina shoved the dying man aside and quickly fired two shots into the chest of the second man. The fourth shot she fired into the partially decapitated creature twitching at her feet. In the lexicon of the SVR, it was a control shot. It was also a shot of

This is a tough one for heaps of us...if not all of us. We're taught our parents' beliefs, society's beliefs, religions' beliefs, and many other beliefs. Then there's us, caught-up in the middle of this confusion, and life stuff's still happening around us: Our first fight, our first kiss, our first oh! my!, our first failure, our first success, and our first shame. Then it starts: We recognise a flaw in the beliefs we learnt, and we query it. They say, "Don't worry about it. Take a leap of faith, or Don't waste your time, or..." So, you say to yourself: It is better to go with the flow, because it hurts too much to go against it. And then we start to please: To please family; to please friends; to please our God. Then hate starts. All of a sudden we are hating just like our parents, our friends, our society, our God. We developed hate. And the only way out of it is to forgive, and start to love. We then develop self-worth, and we realise that it's okay to be liked, and it's okay not to be liked; it's okay that other people have different views; it's okay that we are all different but one; it's okay to be wrong; it's okay to be right; and it's okay to be ME." You are an ORIGINAL WINNER!

Marks … I’m afraid I’m not going to be able to find your spectacles in this wreckage.” “I have another pair at home,” she ventured. “Thank God.” Leo sat up with a quiet grunt of discomfort. “Now, if we stand on the highest pile of debris, it’s only a short distance to the surface. I’m going to hoist you up, get you out of here, and then you’re going to ride back to Ramsay House. Cam trained the horse, so you won’t need to guide him. He’ll find his way back home with no trouble.” “What are you going to do?” she asked, bewildered. He sounded rather sheepish. “I’m afraid I’m going to have to wait here until you send someone for me.” “Why?” “I have a—” He paused, searching for a word. “Splinter.” She felt indignant. “You’re going to make me ride back alone and unescorted and virtually blind, to send someone to rescue you? All because you have a splinter?” “A large one,” he volunteered. “Where is it? Your finger? Your hand? Maybe I can help to … Oh, God. ” This last as he took her hand and brought it to his shoulder. His shirt was wet with blood, and a thick shard of timber protruded from his shoulder. “That’s not a splinter,” she said in horror. “You’ve been impaled. What can I do? Shall I pull it out?” “No, it might be lodged against an artery. And I wouldn’t care to bleed out down here.” She crawled closer to him, bringing her face close to his to examine him anxiously... “Don’t worry,” he murmured. “It looks worse than it is.” But Catherine didn’t agree. If anything, it was worse than it looked... Stripping off her riding coat, she tried to lay it over his chest. “What are you doing?” he asked. “Trying to keep you warm.” Leo plucked the garment off his chest and made a scoffing sound. “Don’t be ridiculous. First, the injury isn’t that bad. Second, this tiny thing is not capable of keeping any part of me warm. Now, about my plan—” “It is obviously a significant injury,” she said, “and I do not agree to your plan. I have a better one.” “Of course you do,” he replied sardonically. “Marks, for once would you do as I ask?” “No, I’m not going to leave you here. I’m going to pile up enough debris for both of us to climb out.” “You can’t even see, damn it. And you can’t move these timbers and stones. You’re too small.” “There is no need to make derogatory remarks about my stature,” she said, lurching upward and squinting at her surroundings. Identifying the highest pile of debris, she made her way to it and hunted for nearby rocks. “I’m not being derogatory.” He sounded exasperated. “Your stature is absolutely perfect for my favorite activity. But you’re not built for hauling rocks. Blast it, Marks, you’re going to hurt yourself—” “Stay there,” Catherine said sharply, hearing him push some heavy object aside. “You’ll worsen your injury, and then it will be even more difficult to get you out. Let me do the work.” Finding a heap of ashlar blocks, she picked one up and lugged it up the pile, trying not to trip over her own skirts. “You’re not strong enough,” Leo said, sounding aggravated and out of breath. “What I lack in physical strength,” she replied, going for another block, “I make up for in determination.” “How inspiring. Could we set aside the heroic fortitude for one bloody moment and dredge up some common sense?” “I’m not going to argue with you, my lord. I need to save my breath for”—she paused to heft another block—“stacking rocks.” Somewhere amid the ordeal, Leo decided hazily that he would never underestimate Catherine Marks again. Ounce for ounce, she was the most insanely obstinate person he had ever known, dragging rocks and debris while half blind and hampered by long skirts, diligently crossing back and forth across his vision like an industrious mole. She had decided to build a mound upon which they could climb out, and nothing would stop her.

Success, to Brando, meant “understanding yourself.” Success, as it was defined by Hollywood, held no appeal to him. This was a man who was hailed as the greatest in his field, a two-time Oscar winner, a box-office champ, the first actor to get a million dollars a picture. He made it to the top of the heap—and when he got there, he found success didn’t have “the fiber,” as he told talk show host David Susskind. He spent his life searching for things that did have the fiber, those permanently true things for which he could lay down his life. He wanted to feel as if he were—to play on his famous line from On the Waterfront—a “contender,” someone who mattered, someone who had fought the good fight. He wanted to feel as if he had made a difference, left a mark, and not just on acting. What he did not want to be was an “unthinker,” the way he described those people who never examined themselves or their place in the world.

From "The Prisoner's Cross". This excerpt is from the author's father's real WW2 Japanese POW journal, and recounts a miracle the author's father experienced there. "It was as gray day, and after I had shoveled the iron scrap out of the last drum, I rested on my shovel.Of-course I checked if any guard was doing the rounds. I had crossed paths with remarkable Christians in the camps. Their insights often offered me just the message I needed at a particular-time, and had nurtured not only my faith, but my understanding of how to live it. Still an anger was welling up in me. The winter was coming; we had now been away some two and half years from our family. We never heard anything after their last visit to the Jaarmarkt. There was an anger about the lostness of years, of being 27 and having already spent three birthdays in concentration camps. Suddenly in a mood of utter anger I kicked the heap of iron pieces which flew back at me and landed on the tip of my boot. My kick, at least, had released the tension, and I was ready to start work again, when I noticed the piece of iron on my boot. It startled me. All the pieces had different forms, leftovers, and cutoffs, waste material, less useful than anything else except to get the dirt and rust off the iron cast tools. I slowly bent over and let the iron scrap rest in my hand. It was in the form of a cross four inches long. I kept staring at it, forgetting all about the guard who might come along at any time. I never speculated how it got in the heap, how just this piece hit-the-door, when I kicked the heap apart, how it landed on my boot. There are a million accidental events that happen on any given day. Somehow, this seemed like a message and an answer to my self-questioning a short time back; what in God’s name am I doing in this God forsaken place? It had been in the same mass of scrap iron for days. I had shoveled the scrap in the rotating drum over and over, to glance off the big implements, and remove the rust. The cross in my mind had always been a big question mark. How could a man on a cross, 2000 years back have any usefulness in our time? Slowly I began to perceive that the event might have a purpose now. Jesus of Nazareth was put on a cross by people who absolutely rejected the unconditional love of God expressed in that cross, and then shared by Christians with others. People came and lived and died by that cross, and the strange power of that cross went on in human beings generation after generation unexplainably. People died for it in fierce confession of their faith, in giving their lives for others. The cross was never totally gone from this world, whatever happened outside Jerusalem in 33 A.D.. Now it had jumped on my boot. I let it roll back and forth in my hand. This little insignificant piece of iron scrap had cleaned far more important pieces of iron, it was only an implement. When I opened the drum several times a day, the big pieces came out clear and well. Maybe being a Christian was doing the same thing.

The first time the power of art pulled the rug out from under me, I was nineteen years old. It was the early 1970s. I was in Europe for the first time, on my way through Paris to Warsaw with my Polish girlfriend, on a bizarre quest to sell blue jeans behind the Iron Curtain. On that day, during my first pilgrimage to the Louvre, I laid eyes on a painting that seemed the sum of all things. It was a cosmographic perpetual motion machine, a purgatorial charnel house—as far from the warmth of any human sun as anything I’d ever beheld. The moment I saw it, something like Krakatoa went off within me. That painting was Théodore Géricault’s The Raft of the Medusa. Standing before it, I felt the gravitational field of my life shift forever. The Raft of the Medusa is massive in scale, yet its subject matter is as simple as cows in a field, bathers by a river, or a birth in a manger. We see a large raft bearing a crowd of male figures, at the mercy of heaving seas. Their poses suggest a classical frieze, like Elgin marbles from hell—a collective ash heap of individually vivisected souls stripped bare of humanity. Each of the men is marked by a distinct, unforgettable gesture. Some are reckoning with their wounds; others seem to be coming to terms with death; some seem closer to damnation than to life. Every one of them appears hopeless. Our eyes are compelled by shafts of flickering phosphorescent light that rake at angles across the figures in the painting’s foreground, tracing its dark pyramidal structure. It’s a vision of jagged complexity and somehow also of profound grandeur.

Silverbell, and his human companion Doughty called back to her with a responding, “Heigh-ho!” and lifted their bows in salute. Aleina noted the bandages wrapping the fingers of the duo, digits rubbed skinless by a thousand bowshots a day. She grimly nodded as she rode on, taking heart that most of those arrows had probably found a mark. On her last trip to the city’s outer wall, she had seen a frost giant lying dead in a heap, its body so thick with arrows that it more resembled a giant porcupine than any humanoid creature. Aleina had noted the fletching on some of those arrows, and had recognized several at least that had come from Plenerond Silverbell’s quiver. King Firehelm awaited her in the city’s grand central citadel, a fortress within the fortress. As she rode up to the main door of that massive and impregnable keep, she spotted the king on a balcony, hands gripping an iron rail as he stared out over the city courtyard, the walls, and the bloody fields. He took note of her and looked down with an approving nod, but his eyes went right back to the fields, to the carnage. His shoulders had slumped under the weight of it all, Aleina thought. She handed the reins to an attendant at the door and bounded up the stairs to the king’s chamber, entering

Just as we look back in horror at the lives of people five hundred years ago, I imagine people five hundred years from now will laugh at us and our certainties today. They will laugh at how we let our money and our jobs define our lives. They will laugh at how we were afraid to show appreciation for those who matter to us most, yet heaped praise on public figures who didn’t deserve anything.

Respect it? Really! You would make poetics of anything!” “It’s like the past. Out of our blind struggles comes wisdom. If we forgive.” “Forgive. Forgive what?” “Ourselves and those who have marked us.” “Stephen, I do not expect to find wisdom in the dung heap.

choose each footfall—a twisted ankle was certain death now—and I saw the tread marks before Kolya. I grabbed his sleeve to stop him. We were at the edge of a vast clearing in the woods. The glare of sunlight off the hectares of snow was bright enough that I had to shield my eyes with my hand. The snow had been corrugated by dozens of tank treads, as if an entire Panzer brigade had passed through. I didn’t know treads the way I knew airplane engines, couldn’t tell a German Sturmtiger’s from a Russian T-34’s, but I knew these weren’t our tanks. We would have already broken the blockade if we had this much armor in the woods. Gray and brown heaps lay scattered across the snow. At first I thought they were discarded coats, but I saw a tail on one, an outstretched paw on another, and I realized they were dead dogs, at least a dozen of them. We heard another howl and finally we saw the howler, a black-and-white sheepdog dragging itself off the field, its front legs doing the work its hind legs could not. Behind the wounded animal was a blood-smeared trail more than a hundred meters long, a red brushstroke slapped across a white canvas.

All are so like when the bones are bared; yet with pains and long scrutiny we could make them out. They lay pell-mell in undistinguished heaps, with none of their earthly beauties left. With all those anatomies piled together as like as could be, eyes glaring ghastly and vacant, teeth gleaming bare, I knew not how to tell Thersites from Nireus the beauty, beggar Irus from the Phaeacian king, or cook Pyrrhias from Agamemnon's self. Their ancient marks were gone, and their bones alike -- uncertain, unlabelled, indistinguishable.

Early on, advocates of big bang cosmology realized that the universe is evolutionary. In the words of one famous cosmologist, George Gamov, “We conclude that the relative abundances of atomic species represent the most ancient archaeological document pertaining to the history of the universe.” In other words, the periodic table is evidence of the evolution of matter, and atoms can testify to the history of the cosmos. But early versions of big bang cosmology held that all the elements of the universe were fused in one fell swoop. As Gamov puts it, “These abundances …” meaning the ratio of the elements (heaps of hydrogen, hardly any gold—that kind of thing), “… must have been established during the earliest stages of expansion, when the temperature of the primordial matter was still sufficiently high to permit nuclear transformations to run through the entire range of chemical elements.” It was a neat idea, but very wrong. Only hydrogen, helium, and a dash of lithium could have formed in the big bang. All of the elements heavier than lithium were made much later, by being fused in evolving and exploding stars. How do we know this? Because at the same time some scholars were working on the big bang theory, others were trying to ditch the big bang altogether. Its association with thermonuclear devices made it seem hasty, and its implied mysterious origins tainted it with creationism. And so, a rival camp of cosmologists developed an alternate theory: the Steady State. The Steady State held that the universe had always existed. And always will. Matter is created out of the vacuum of space itself. Steady State theorists, working against the big bang and its flaws, were obliged to wonder where in the cosmos the chemical elements might have been cooked up, if not in the first few minutes of the universe. Their answer: in the furnaces of the very stars themselves. They found a series of nuclear chain reactions at work in the stars. First, they discovered how fusion had made elements heavier than carbon. Then, they detailed eight fusion reactions through which stars convert light elements into heavy ones, to be recycled into space through stellar winds and supernovae. And so, it’s the inside of stars where the alchemist’s dream comes true. Every gram of gold began billions of years ago, forged out of the inside of an exploding star in a supernova. The gold particles lost into space from the explosion mixed with rocks and dust to form part of the early Earth. They’ve been lying in wait ever since.

When you realise the mountain you’ve been climbing is just a heap of shit, the fall doesn’t feel so far.

Stretching his legs toward the fire, Ranulf massaged his aching knee and watched the children as they ate their fill, probably for the first time in their lives. IT was Wednesday fast day, but he'd made a conscious decision to violate the prohibition against eating flesh; he could always do penance once he got back to his own world. Now it seemed more important to feed Simon and Jennet the best meal he could, and the innkeeper had served up heaping portions of salted pork, a thick pottage of peas and beans, and hot, flat cakes of newly baked bread, marked with Christ's Cross. To Ranulf, it was poor fare, and he ended up sharing most of it with Loth. But Simon and Jennet savored every mouthful, scorning spoons and scooping the food up with their fingers, as if expecting to have their trenchers snatched away at any moment. And Ranulf learned more than night about hunger and need than in all of his twenty-five years. What would become of them? How could they hope to reach Cantebrigge? And if by God's Grace, they somehow did, what if this uncle of their was not there? They'd never seen the man, knew only what their father had told them, that soon after Simon's birth, a peddler had brought them a message from Jonas, saying he'd settled in Cantebrigge. That confirmed Ranulf's suspicions: two brothers fleeing serfdom, one hiding out in the Fens, the other taking the bolder way, for an escaped villein could claim his freedom if he lived in a chartered borough for a year and a day. It was a pitiful family history, an unwanted glimpse into a world almost as alien to Ranulf as Cathay. But like it or not, he was caught up now in this hopeless odyssey of Abel the eelman's children. In an unusually morose and pessimistic mood, he wondered how many Simons and Jennets would be lost to the furies unleashed by Geoffrey the Mandeville's rebellion.

To heap misery upon misery, red paint has marked the edifices of two more houses—those belonging to the Musgraves and the Riddingtons. Both are honorable families, but I know all too well we never can be sure who may be hiding something dark.

Our pleasures are not lost, nor do they disappear; in another way, they mark us as much as our pains. The one among them which seemed to have vanished forever will save us from a crisis, will plead, unknown to us, against one of our disappointments, against some temptation to abdicate, to surrender; it will create in us new links of which we are not conscious, and reinforce a heap of little hopes which will counterbalance that tendency of our memory to preserve only vestiges of the atrocious, the terrible. For our memory is a venal thing: it sides with our pains, it has sold itself to our sufferings.