Mesh Quotes

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The wind was moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon's ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him!

When I break into the clearing, she's on the ground, hopelessly entangled in a net. She just has the time to reach her hand through the mesh and say my name before the spear enters her body.

Here was peace. She pulled in her horizon like a great fish-net. Pulled it from around the waist of the world and draped it over her shoulder. So much of life in its meshes! She called in her soul to come and see.

Of course he wasn't dead. He could never be dead until she herself had finished feeling and thinking. The kiss of his memory made pictures of love and light against the wall. Here was peace. She pulled in her horizon like a great fish-net. Pulled it from around the waist of the world and draped it over her shoulder. So much of life in its meshes! She called in her soul to come and see.

Go to Old Delhi,and look at the way they keep chickens there in the market. Hundred of pale hens and brightly colored roosters, stuffed tightly into wire-mesh cages. They see the organs of their brothers lying around them.They know they are next, yet they cannot rebel. They do not try to get out of the coop. The very same thing is done with humans in this country.

A sister they had, Galadriel, most beautiful of all the house of Finwë; her hair was lit with gold as though it had caught in a mesh the radiance of Laurelin.

A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders.

He wished she knew his impressions, but he would as soon as thought of carrying an odour in a net as of attempting to convey the intangibles of his feeling in the coarse meshes of language. So he remained silent.

In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military industrial complex. The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes. We should take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals, so that security and liberty may prosper together.

But the person who stepped out of the front door was tall and thin, with short, spiky dark hair. he was wearing a gold mesh vest and a pair of silk pajama pants. He regarded Clary with mild interest, puffing gently on a fantastically large pipe as he did so. Though he looked nothing at all like a Viking, he was instantly and totally familiar. Magnus Bane

The difference between a simpleton and an intelligent man, according to the man who is convinced that he is of the latter category, is that the former wholeheartedly accepts all things that he sees and hears while the latter never admits anything except after a most searching scrutiny. He imagines his intelligence to be a sieve of closely woven mesh through which nothing but the finest can pass. 

A charm invests a face Imperfectly beheld,— The lady dare not lift her veil For fear it be dispelled. But peers beyond her mesh, And wishes, and denies,— Lest interview annul a want That image satisfies.

She’s flying free,” Q whispered, freezing me. He raised his head to look at a sparrow that landed on the mesh by his hand. “She’s leaving soon and I don’t think I’ll survive it.

Of course there are robots among us. There are also Magicians among us. I think we take turns playing each role, as a matter of fact. The Magician defines a reality-mesh and the robot lives in it. Grok?

As our bodies mesh as one, I know that this is the heaven I want to fight for: the one in my arms.

Romanticism, which encourages variety, meshes perfectly with consumerism.

Your feelings don’t have to mesh with what you think they should be,” he explained. “They’ll be there regardless, so you might as well welcome them because they hold important clues.

We have one of those conversations where every thing clicks, meshes, corresponds, locks, where even our pauses, even our punctuation marks, seem to be nodding in agreement.

Ah, thou hast made my heart captive in the endless meshes of thy music, my master!

That's one of the things that "queer" can refer to: the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically.

You can define a net two ways, depending on your point of view. Normally you would say it is a meshed instrument designed to catch fish. But you could, with no great injury to logic, reverse the image and define the net as a jocular lexicographer once did: he called it a collection of holes tied together with string.

The gentle pulsing and flickering of stars and nebulae made a kind of music, a sweet easy mesh of whispered tones and sighing harmonies that held him in its force like the earth [holding] the moon.

He never lives in a single reality, but in a shifting shadow-mesh of diplomatic possibilities.

It's hard to say goodbye for good at any time or any place. It's harder still to say it through a meshed wire. It crisscrossed his face into little diagonals, gave me only little broken-up molecules of it at a time. It stenciled a cold, rigid frame around every kiss.

And because we are alive, the universe must be said to be alive. We are its consciousness as well as our own. We rise out of the cosmos and we see its mesh of patterns, and it strikes us as beautiful. And that feeling is the most important thing in all the universe—its culmination, like the color of the flower at first bloom on a wet morning.

Look!You want to see? See! Feast your eyes, glut your soul on my cursed ugliness! Look at Erik's face! Now you know the face of the voice! You were not content to hear me, eh? You wanted to know what I looked like? Oh, you women are so inquisitive! Well, are you satisfied? I'm a good-looking fellow, eh?...When a woman has seen me, as you have, she belongs to me.She loves me forever! I am a kind of Don Juan, you know!...Look at me! I am Don Juan Triumphant! -Erik in The Phantom of the Opera

Enter no conflict against fanatics unless you can defuse them. Oppose a religion with another religion only if your proofs (miracles) are irrefutable or if you can mesh in a way that the fanatics accept you as god-inspired. This has long been the barrier to science assuming a mantle of divine revelation. Science is so obviously man-made. Fanatics (and many are fanatic on one subject or another) must know where you stand, but more important, must recognise who whispers in your ear." - Missionaria Protectiva, Primary Teaching.

The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh.

Why are you here?” I reached back behind my head and grabbed his wrists, stilling him. “Ben?” “Because apparently I’m shit at staying away from you.” “Then I guess we have a problem.” Our fingers meshed, holding on tight. “That’s putting it fucking mildly.

To love in any way is to be like a child—it means to be vulnerable, to be wide-eyed, to be selfless. There is no such thing as free love; love is the most costly expression in the world. To love romantically is to give of oneself fully and completely, a merging and meshing of souls so that the twain become a unity. It is to allow the sense of wonder to fully enrapture.

Heaven's net is wide, but its mesh is fine

States of the atmosphere pass into us as water through the meshes of a sieve, and storms occur in us before they break upon the world without, creating restless sensations. ("Absolute Evil")

Light is a funny thing. Its wavelength defines what it can and can’t interact with. Anything smaller than the wavelength is functionally nonexistent to that photon. That’s why there’s a mesh over the window of a microwave. The holes in the mesh are too small for microwaves to pass through. But visible light, with a much shorter wavelength, can go through freely. So you get to watch your food cook without melting your face off.

I continue to live inside a dichotomy: what was and what shall be. The pain in my skull is me trying to mesh the two.

The American and Russian capabilities in space science and technology mesh; they interdigitate. Each is strong where the other is weak. This is a marriage made in heaven - but one that has been surprisingly difficult to consummate.

Really, I wonder why. Tetsu and I don't agree on anything else but we mesh when it's basketball." ~ Younger Aomine Daiki

The sky a net, its mesh clogged with glowing stars.

Too Clear, too clean. The problem was precision, perfection; the problem was "digitization" which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. "An aesthetic holocaust!

Young women with ambitions should be very crafty and cautious, lest mayhap they be caught in the soft, silken mesh of a happy marriage, and go down to oblivion, dead to the world.

Silence. It flashed from the woodwork and the walls; it smote him with an awful, total power, as if generated by a vast mill. It rose from the floor, up out of the tattered gray wall-to-wall carpeting. It unleashed itself from the broken and semi-broken appliances in the kitchen, the dead machines which hadn’t worked in all the time Isidore had lived here. From the useless pole lamp in the living room it oozed out, meshing with the empty and wordless descent of itself from the fly-specked ceiling. It managed in fact to emerge from every object within his range of vision, as if it—the silence—meant to supplant all things tangible. Hence it assailed not only his ears but his eyes; as he stood by the inert TV set he experienced the silence as visible and, in its own way, alive. Alive! He had often felt its austere approach before; when it came it burst in without subtlety, evidently unable to wait. The silence of the world could not rein back its greed. Not any longer. Not when it had virtually won.

So, here we are, all of us poor bewildered darlings, wandering adrift in a universe too big and too complex for us, clasping and ricochetting off other people too different and too perplexing for us, and seeking to satisfy myriad, shifting, vague needs and desires, both mean and exalted. And sometimes we mesh. Don't we? - Attributed to James Flynn, Ph.D.

It would have been hard for Fat Charlie to say exactly when the accumulation of birds on the wire mesh moved from interesting to terrifying. It was somewhere in the first hundred or so, anyway. And it was in the way they didn't coo, or caw, or trill, or song. They simply landed on the wire, and they watched him.

In a cool medium, the audience is an active constituent of the viewing or listening experience. A girl wearing open-mesh silk stockings or glasses is inherently cool and sensual because the eye acts as a surrogate hand in filling in the low-definition image thus engendered. Which is why boys make passes at girls who wear glasses.

I guess I am disturbed only because so little strains through the meshes and I am thinking in such violent floods.

Many people are coming to believe that the tenets of Christianity and Marxism can actually be meshed, but they make the mistake of believing the result can still be called Christianity.

Because empaths can see the world through their partner’s point of view, they frequently tend to completely mesh with the viewpoints of their abusers. So when an empath is told that he or she is uncaring from a narcissistic partner, the empath will genuinely feel as though they are a horrible person due to the fact that they can feel and embody the emotions of their partners.

Here's my love, not in little droplets, but from the very river of my being. It reaches all the way down to the roots of my being, tangling my heart in its burning mesh. For you. Drink deep.

The Zodiac had rearranged itself into a precise grid of bright points with luminous tails. It was as though the whole planet had been caught in some great closing net, the knots of its mesh aglow with St. Elmo's fire. It was beautiful. It was terrifying.

With every morn my life afresh must break The crust of self, gathered about me fresh; That thy wind-spirit may rush in and shake The darkness out of me, and rend the mesh The spider-devils spin out of the flesh- Eager to net the soul before it wake, That it may slumberous lie, and listen to the snake. George MacDonald

A shoe decision change leads to bein' more than twenty minutes late? "The Choos are silver. The Valentinos are a blush. Sure, the Valentinos have crystal and mesh but I'd gone gray, smoky and drama. The blush requires soft pink, glimmer and dewy. That required total cleanse off and reapplication of makeup.", I explained.

But I think you are already in the meshes of the net! The Holy Spirit is after you. I doubt if you’ll get away!

He was shockingly easy to follow. The pressure of his hand, the step of his foot, the angle of his frame... it was like reading his mind. When he leaned right, they turned in perfect unison. He swept her across the gallery in a quick three, a dizzying pace. Gilded frames and glass cases and the window blurred in her vision, and Azalea spun out, her skirts pulling and poofing around her, before he caught her and brought her back into dance position. She could almost hear music playing, swelling inside of her. Mother had once told her about this perfect twining into one. She called it interweave, and said it was hard to do, for it took the perfect matching of the partners’ strengths to overshadow each other’s weaknesses, meshing into one glorious dance. Azalea felt the giddiness of being locked in not a pairing, but a dance. So starkly different than dancing with Keeper. Never that horrid feeling that she owed him something; no holding her breath, wishing for the dance to end. Now, spinning from Mr. Bradford’s hand, her eyes closed, spinning back and feeling him catch her, she felt the thrill of the dance, of being matched, flow through her. ”Heavens, you’re good!” said Azalea, breathless. ”You’re stupendous,” said Mr. Bradford, just as breathless. “It’s like dancing with a top!

When you awaken you look so fresh Your skin so soft and hair an artistic mesh Your natural scent is a fragrant perfume Your dashing figure makes hearts fume Your bright mind is vibrant with wit Your captivating smile is brightly lit Your teeth are absolute perfection Nature endowed you with a fine selection Your eyes are spectacles of celestial charm Gorgeous and stunning, striking with alarm

These animals didn’t die normally. Not from the shield or the wire mesh either, no. Animals never tried to cross the mesh because of its repelling frequencies. They weren’t alive when they were thrown. The Monk freezes his gaze. They. Were. Thrown.

That's one of the things that "queer" can refer to: the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically. The experimental linguistic, epistemological, representational, political adventures attaching to the very many of us who may at times be moved to describe ourselves as (among many other possibilities) pushy femmes, radical faeries, fantasists, drags, clones, leatherfolk, ladies in tuxedos, feminist women or feminist men, masturbators, bulldaggers, divas, Snap! queens, butch bottoms, storytellers, transsexuals, aunties, wannabes, lesbian-identified men or lesbians who sleep with men, or ... people able to relish, learn from, or identify with such.

If questioning would make us wise no eyes would ever gaze in eyes; if all of our tale were told in speech, no mouth would wonder each to each. Were spirits free from mortal mesh and love not bound to hearts of flesh no aching breast would earn to meet and find their ecstasy complete. For who is there that lives and knows the secret powers by which he grows? Were knowledge all, what were our need to thrill and faint and sweetly bleed? Then not seek, sweet, the “If” and “Why” I love you until I die. For I must love because I live And life in me is what you give.

The life of every man is in the Center of Time, for all were seen in the seeing of Meshe, and are in his eye. We are the pupils of his Eye... Our doing is his Seeing: our being is his Knowing.

The voice called his name again and it came through a lot of throat. Steven twisted quickly on his stool. Just a white wall and, down near the floor, the ventilation grille. Then movement behind the grille and Steven was on his knees, peering through it, pressing his face against the mesh. In there, in the shadows beyond the spill of light from the hall, the outline of an anvil-shaped head swayed gently. Two eyes blinked limpidly, insolent in their slowness. A dark mass moved forward into the light. “That Cripps man is going to fuck you up, dude.” It was a cow. Most of the body was below floor level but Steven could tell it was a full grown animal. A sienna Guernsey. He looked closely at the flawless sandy curves of forehead and cheek, at the chocolate darkening of the mouth and nostrils, at the badger rings around the eyes. For an absurd second he thought that if he looked hard enough at it the thing might phase back into his head and disappear. But it was real and it stayed. “What … ?” “Yeah, I’m a cow, man. Touch me.” Steven stuck his fingers through the grille. The cow was a cow, warm and solid.

He gazes through sunlight's buttresses, back down the refectory at the others, wallowing in their plenitude of bananas, thick palatals of their hunger lost somewhere in the stretch of morning between them and himself. A hundred miles of it, so suddenly. Solitude, even among the meshes of this war, can when it wishes so take him by the blind gut and touch, as now, possessively. Pirate's again some other side of a window, watching strangers eat breakfast.

I woke sometime in the middle of the night and lay in the hammock, wriggled my foot out of the sleeping bag into the chill and found the rough ground with my bare foot and rocked myself back and forth. And watched the stars swim against the mesh of leaves. Like a fish nosing a net. This is what we are, what we do: nose a net, push push, a net that never exists. The knots in the mesh as strong as our own believing. Our own fears.

Never forget that God has given every single one of us the most astonishing uniqueness. There's no one in the world who can do what you can do, who can think and see the way you do, who can create what you can create. You are a complex mesh of finely woven styles, view-points, abilities, tastes, and gifts. If you don't get to live your life, you've lost an incalculable treasure.

Yeah, she's right here. She's in the shower, in fact…Oh, Jack! I told Grace the funniest joke about the British invading her hoo—Wait, what?…Hold on…Grace, Jack would like you to know that he has seen the pictures and he thinks you were pointing that shrimp at him far too aggressively…No, she isn't acknowledging you. She's now banging her head against the shower tiles…Oops, now she's glaring at me…she's turning off the shower, Jack…she's coming towards me…she's naked, Jack…and angry…she's naked and angry, Jack…you would probably love angry, naked Grace. It's something to see. She's hitting me, Jack…I think she's going to take the phone away from…

They were, doubtless, good men, just and sage. But, out of the whole human family, it would not have been easy to select the same number of wise and virtuous persons, who should be less capable of sitting in judgment on an erring woman's heart, and disentangling its mesh of good and evil, than the sages of rigid aspect towards whom Hester Prynne now turned her face.

They say that when you meet someone and feel like it’s love at first sight, run in the other direction. All that’s happened is that your dysfunction has meshed with their dysfunction. Your wounded inner child has recognized their wounded inner child, both hoping to be healed by the same fire that burned them.

She loves me-she just doesn't know it yet.

She was the kind of elegance That would never tarnish. A mixture of lace and mesh, Like a classic heirloom that begged to be worn. She was sharp intellect and quick wit. The type of woman that spoke her mind, Even if it shook. (Or even if no one was listening.) She was beautiful. But not someone you’d see in magazines, Her hips were too wide, her hair a mess of wispy tendrils, (Rather, she was actually very ordinary.) My, was she stubborn! She’d drive you mad! (Sometimes, you’d probably call her crazy.) But mostly, her laughter was a joyful moments. Like a warm towel fresh from the dryer, Or finding a twenty-dollar bill in your winter coat. And that was the true revelation. That magic does exist, It ran through her like a wild, fiery current.

Was it wisdom? Was it knowledge? Was it, once more, the deceptiveness of beauty, so that all one’s perceptions, half-way to truth, were tangled in a golden mesh? Or did she lock up within her some secret which certainly Lily Briscoe believed people must have for the world to go on at all? Every one could not be as helter skelter, hand to mouth as she was. But if they knew, could they tell one what they knew? Sitting on the floor with her arms round Mrs. Ramsay’s knees, close as she could get, smiling to think that Mrs. Ramsay would never know the reason of that pressure, she imagined how in the chambers of the mind and heart of the woman who was, physically, touching her, were stood, like the treasures in the tombs of kings, tablets bearing sacred inscriptions, which if one could spell them out, would teach one everything, but they would never be offered openly, never made public. What art was there, known to love or cunning, by which one pressed through into those secret chambers? What device for becoming, like waters poured into one jar, inextricably the same, one with the object one adored? Could the body achieve, or the mind, subtly mingling in the intricate passages of the brain? or the heart? Could loving, as people called it, make her and Mrs. Ramsay one? for it was not knowledge but unity that she desired, not inscriptions on tablets, nothing that could be written in any language known to men, but intimacy itself, which is knowledge, she had thought, leaning her head on Mrs. Ramsay’s knee.

There are gaps in the mesh of the everyday world, and sometimes they open up and you fall through them into somewhere else. Somewhere Else runs at a different pace to the here and now, where everyone else carries on. Somewhere Else is where ghosts live, concealed from view and only glimpsed by people in the real world. Somewhere Else exists at a delay, so that you can't quite keep pace. Perhaps I was already teetering on the brink of Somewhere Else anyway; but now I fell through, as simply and discreetly as dust sifting between the floorboards. I was surprised to find that I felt at home there. Winter had begun.

I hate you." My sister said it different than she said it to my dad. She meant it with me.She really did. "I love you," was all I could say in return. "You're a freak, you know that? Everyone says so. They always have." "I'm trying not to be.” Then, I turned around and walked to my room and closed my door and put my head under my pillow and let the quiet put things where they are supposed to be.[pp.28]

Vimes, listening with his mouth open, wondered why the hell it was that dwarfs believed that they had no religion and no priests. Being a dwarf was a religion. People went into the dark for the good of the clan, and heard things, and were changed, and came back to tell… And then, fifty years ago, a dwarf tinkering in Ankh-Morpork had found that if you put a simple fine mesh over your lantern flame it'd burn blue in the presence of the gas but wouldn't explode. It was a discovery of immense value to the good of dwarfkind and, as so often happens with such discoveries, almost immediately led to a war. "And afterwards there were two kinds of dwarf," said Cheery sadly. "There's the Copperheads, who all use the lamp and the patent gas exploder, and the Schmaltzbergers, who stick to the old ways. Of course we're all dwarfs," she said, "but relations are strained.

I am a battery hen. I live in a cage so small I cannot stretch my wings. I am forced to stand night and day on a sloping wire mesh floor that painfully cuts into my feet. The cage walls tear my feathers, forming blood blisters that never heal. The air is so full of ammonia that my lungs hurt and my eyes burn and I think I am going blind. As soon as I was born, a man grabbed me and sheared off part of my beak with a hot iron, and my little brothers were thrown into trash bags as useless alive. My mind is alert and my body is sensitive and I should have been richly feathered. In nature or even a farmyard I would have had sociable, cleansing dust baths with my flock mates, a need so strong that I perform 'vacuum' dust bathing on the wire floor of my cage. Free, I would have ranged my ancestral jungles and fields with my mates, devouring plants, earthworms, and insects from sunrise to dusk. I would have exercised my body and expressed my nature, and I would have given, and received, pleasure as a whole being. I am only a year old, but I am already a 'spent hen.' Humans, I wish I were dead, and soon I will be dead. Look for pieces of my wounded flesh wherever chicken pies and soups are sold.

Unclaimed To make love with a stranger is the best. There is no riddle and there is no test. – To lie and love, not aching to make sense Of this night in the mesh of reference. To touch, unclaimed by fear of imminent day, And understand, as only strangers may. To feel the beat of foreign heart to heart Preferring neither to prolong nor part. To rest within the unknown arms and know That this is all there is; that this is so.

we met one strange summer in a regular tangle of sticky webs you had the air of angels sweet but I-- drowned with the damned spirits in lava oceans fearing your-- foreign static frequency and grey-green eyes (I swear they are even if you-- think otherwise): storms calm ones, calmer than my-- raging coals, empty and dead you speak of souls like you believe always an optimist in pessimistic skin of ivory and titanium mesh...

u dare to threaten me?”she retaliated, gaining her feet as she faced off with the Enforcer in what had to be the most unwise action in Council history since the decision to go to war with the Druids.

most cherished desires of present-day Westerners are shaped by romantic, nationalist, capitalist and humanist myths that have been around for centuries. Friends giving advice often tell each other, ‘Follow your heart.’ But the heart is a double agent that usually takes its instructions from the dominant myths of the day, and the very recommendation to ‘follow your heart’ was implanted in our minds by a combination of nineteenth-century Romantic myths and twentieth-century consumerist myths. The Coca-Cola Company, for example, has marketed Diet Coke around the world under the slogan ‘Diet Coke. Do what feels good.’ Even what people take to be their most personal desires are usually programmed by the imagined order. Let’s consider, for example, the popular desire to take a holiday abroad. There is nothing natural or obvious about this. A chimpanzee alpha male would never think of using his power in order to go on holiday into the territory of a neighbouring chimpanzee band. The elite of ancient Egypt spent their fortunes building pyramids and having their corpses mummified, but none of them thought of going shopping in Babylon or taking a skiing holiday in Phoenicia. People today spend a great deal of money on holidays abroad because they are true believers in the myths of romantic consumerism. Romanticism tells us that in order to make the most of our human potential we must have as many different experiences as we can. We must open ourselves to a wide spectrum of emotions; we must sample various kinds of relationships; we must try different cuisines; we must learn to appreciate different styles of music. One of the best ways to do all that is to break free from our daily routine, leave behind our familiar setting, and go travelling in distant lands, where we can ‘experience’ the culture, the smells, the tastes and the norms of other people. We hear again and again the romantic myths about ‘how a new experience opened my eyes and changed my life’. Consumerism tells us that in order to be happy we must consume as many products and services as possible. If we feel that something is missing or not quite right, then we probably need to buy a product (a car, new clothes, organic food) or a service (housekeeping, relationship therapy, yoga classes). Every television commercial is another little legend about how consuming some product or service will make life better. 18. The Great Pyramid of Giza. The kind of thing rich people in ancient Egypt did with their money. Romanticism, which encourages variety, meshes perfectly with consumerism. Their marriage has given birth to the infinite ‘market of experiences’, on which the modern tourism industry is founded. The tourism industry does not sell flight tickets and hotel bedrooms. It sells experiences. Paris is not a city, nor India a country – they are both experiences, the consumption of which is supposed to widen our horizons, fulfil our human potential, and make us happier. Consequently, when the relationship between a millionaire and his wife is going through a rocky patch, he takes her on an expensive trip to Paris. The trip is not a reflection of some independent desire, but rather of an ardent belief in the myths of romantic consumerism. A wealthy man in ancient Egypt would never have dreamed of solving a relationship crisis by taking his wife on holiday to Babylon. Instead, he might have built for her the sumptuous tomb she had always wanted. Like the elite of ancient Egypt, most people in most cultures dedicate their lives to building pyramids. Only the names, shapes and sizes of these pyramids change from one culture to the other. They may take the form, for example, of a suburban cottage with a swimming pool and an evergreen lawn, or a gleaming penthouse with an enviable view. Few question the myths that cause us to desire the pyramid in the first place.

Apology accepted,” I said. “Good.” “Be warned, though, I’m practicing to become a better feminist.” I rolled onto my back, staring at his luminous eyes in the dark. “The whole Chris thing was a kick to the clit, but I’m working hard to set myself straight now. I own this body. My fate is mine.” “Okay,” he said slowly, meshing his fingers with mine. “Where is this going?” “I just want you to know, I will not be falling slave to your devil dick and demon tongue. No matter how good they are.

Hardly had the light been extinguished, when a peculiar trembling began to affect the netting under which the three children lay. It consisted of a multitude of dull scratches which produced a metallic sound, as if claws and teeth were gnawing at the copper wire. This was accompanied by all sorts of little piercing cries. The little five-year-old boy, on hearing this hubbub overhead, and chilled with terror, jogged his brother's elbow; but the elder brother had already shut his peepers, as Gavroche had ordered. Then the little one, who could no longer control his terror, questioned Gavroche, but in a very low tone, and with bated breath:-- "Sir?" "Hey?" said Gavroche, who had just closed his eyes. "What is that?" "It's the rats," replied Gavroche. And he laid his head down on the mat again. The rats, in fact, who swarmed by thousands in the carcass of the elephant, and who were the living black spots which we have already mentioned, had been held in awe by the flame of the candle, so long as it had been lighted; but as soon as the cavern, which was the same as their city, had returned to darkness, scenting what the good story-teller Perrault calls "fresh meat," they had hurled themselves in throngs on Gavroche's tent, had climbed to the top of it, and had begun to bite the meshes as though seeking to pierce this new-fangled trap. Still the little one could not sleep. "Sir?" he began again. "Hey?" said Gavroche. "What are rats?" "They are mice." This explanation reassured the child a little. He had seen white mice in the course of his life, and he was not afraid of them. Nevertheless, he lifted up his voice once more. "Sir?" "Hey?" said Gavroche again. "Why don't you have a cat?" "I did have one," replied Gavroche, "I brought one here, but they ate her." This second explanation undid the work of the first, and the little fellow began to tremble again. The dialogue between him and Gavroche began again for the fourth time:-- "Monsieur?" "Hey?" "Who was it that was eaten?" "The cat." "And who ate the cat?" "The rats." "The mice?" "Yes, the rats." The child, in consternation, dismayed at the thought of mice which ate cats, pursued:-- "Sir, would those mice eat us?" "Wouldn't they just!" ejaculated Gavroche. The child's terror had reached its climax. But Gavroche added:-- "Don't be afraid. They can't get in. And besides, I'm here! Here, catch hold of my hand. Hold your tongue and shut your peepers!

Stand here, he thought, and count the lighted windows of a city. You cannot do it. But behind each yellow rectangle that climbs, one over another, to the sky - under each bulb - down to there, see that spark over the river which is not a star? - there are people whom you will never see and who are your masters. At the supper tables, in the drawing rooms, in their beds and in their cellars, in their studies and in their bathrooms. Speeding in the subways under your feet. Crawling up in elevators through vertical cracks around you. Jolting past you in every bus. Your masters, Gail Wynand. There is a net - longer than the cables that coil through the walls of this city, larger than the mesh of pipes that carry water, gas and refuse - there is another hidden net around you; it is strapped to you, and the wires lead to every hand in the city. They jerked the wires and you moved. You were a ruler of men. You held a leash. A leash is only a rope with a noose at both ends.

Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there’s been any fault at all to-day, it’s mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I’m wrong in these clothes. I’m wrong out of the forge, the kitchen, or off th’ meshes. You won’t find half so much fault in me if you think me in forge dress, with my hammer in my hand, or even my pipe. You won’t find half so much fault in me if, supposing as you should ever wish to see me, you come and put your head in at the forge window and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. I’m awful dull, but I hope I’ve beat out something nigh the rights of this at last. And so God bless you, dear old Pip, old chap, God bless you!

I touched her comb and took it out; her hair came flooding down like a wave, and her long black tresses quivered as they fell to her hips. I immediately ran my hand over it, and in it, and beneath it; I plunged my arm into it, and bathed my face in it, filled with sadness. Sometimes I would enjoy separating it into two, from behind, and then bringing it over her shoulder so as to hide her breasts; then I would bring all her hair together in a mesh, and pull it so that her head came back and her neck was thrown forward; she let me do what I wanted, like a dead woman.

Even the farthest seers can't bend their gaze beyond their era's horizon of possibility, but the horizon shifts with each incremental revolution as the human mind peers outward to take in nature, then turns inward to question its own givens. We sieve the world through the mesh of these certitudes, tautened by nature and culture, but every once in a while—whether by accident or conscious effort—the wire loosens and the kernel of revolution slips through.

I said that I have finished telling my story, not that the story is finished. I said before that no story is ever really finished, each one is part of a longer story and consists of smaller stories, some of which are told, others passed over in silence. And whenever you tell any one of the stories, whether you intend it or not, you include the shadow of all the others. The result is that once you have told one story, once you have undone the meshes of the net at one point, you are trapped. You are compelled to go on with the story. And because we ourselves, like all life, are stories, we become the story of the stories.

This conjunction of an immense military establishment and a large arms industry is new in the American experience. The total influence -- economic, political, even spiritual -- is felt in every city, every State house, every office of the Federal government. We recognize the imperative need for this development. Yet we must not fail to comprehend its grave implications. Our toil, resources and livelihood are all involved; so is the very structure of our society. In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the militaryindustrial complex. The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes. We should take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals, so that security and liberty may prosper together.

i think of that spring morning, just before dawn. how she appeared at my side on the bench. how i felt so suddenly alive with possibility. saw in her a wondrous world, an open hand, a person i knew in my bones would be someone i’d love. how i had no idea. how the not knowing was the most wonderful and terrible thing. maybe i could do it again. imagine her back. live on the roofs and trees of my mind with another her beside me forever. take her mesh hand in mine and this time never let go.

Hermes!” He summoned the god with a single command, and he appeared, wearing a mesh crop top and tiny leather shorts. What the fuck had he interrupted? “Yes, King of Death and Dark…” Hermes’ voice faded away as his eyes swept the room. When he met Hades’ gaze again, he seemed dazed. “Am I dreaming?” “I need your…help,” Hades said. “I am dreaming.” Hermes slapped his face. “Hermes,” Hades gritted out. “No, no,” he said, putting up his hands as if to silence him. He took a breath. “Don’t ruin this for me. I might be dreaming, but I’m about to live out one of my top five fantasies—” Hades slapped the god, who looked shocked. “This isn’t a dream, Hermes.” They stared at one another, and in the silence, Hades raised a brow. “Top five, huh?

Because She Would Ask Me Why I Loved Her If questioning would make us wise No eyes would ever gaze in eyes; If all our tale were told in speech No mouths would wander each to each. Were spirits free from mortal mesh And love not bound in hearts of flesh No aching breasts would yearn to meet And find their ecstasy complete. For who is there that lives and knows The secret powers by which he grows? Were knowledge all, what were our need To thrill and faint and sweetly bleed? Then seek not, sweet, the "If" and "Why" I love you now until I die. For I must love because I live And life in me is what you give.

Silence. It flashed from the woodwork and the walls; it smote him with an awful, total power, as if generated by a vast mill. It rose from the floor, up out of the tattered gray wall-to-wall carpeting. It unleashed itself from the broken and semi-broken appliances in the kitchen, the dead machines which hadn’t worked in all the time Isidore had lived here. From the useless pole lamp in the living room it oozed out, meshing with the empty and wordless descent of itself from the fly-specked ceiling. It managed in fact to emerge from every object within his range of vision, as if it—the silence—meant to supplant all things tangible.

That mesh of leaves and twigs of fork and froth, minute and endless, with the sky glimpsed only in sudden specks and splinters, perhaps it was only there so that my brother could pass through it with his tomtit’s thread, was embroidered on nothing, like this thread of ink which I have let run on for page after page, swarming with cancellations, corrections, doodles, blots and gaps, bursting at times into clear big berries, coagulating at others into piles of tiny starry seeds, then twisting away, forking off, surrounding buds of phrases with frameworks of leaves and clouds, then interweaving again, and so running on and on and on until it splutters and bursts into a last senseless cluster of words, ideas, dreams, and so ends.

A Corymbus for Autumn How are the veins of thee, Autumn, laden? Umbered juices, And pulpèd oozes Pappy out of the cherry-bruises, Froth the veins of thee, wild, wild maiden. With hair that musters In globèd clusters, In tumbling clusters, like swarthy grapes, Round thy brow and thine ears o'ershaden; With the burning darkness of eyes like pansies, Like velvet pansies Where through escapes The splendid might of thy conflagrate fancies; With robe gold-tawny not hiding the shapes Of the feet whereunto it falleth down, Thy naked feet unsandalled; With robe gold-tawny that does not veil Feet where the red Is meshed in the brown, Like a rubied sun in a Venice-sail.

Air and earth form an anthill traversed, level upon level, by roads live with traffic. Air trains, ground trains, underground trains, people mailed through tubes special-delivery, and chains of cars race along horizontally, while express elevators pump masses of people vertically from one traffic level to another; at the junctions, people leap from one vehicle to the next, instantly sucked in and snatched away by the rhythm of it, which makes a syncope, a pause, a little gap of twenty seconds during which a word might be hastily exchanged with someone else. Questions and answers synchronize like meshing gears; everyone has only certain fixed tasks.

Good crews are good blends of personalities: someone to lead the charge, someone to hold something in reserve; someone to pick a fight, someone to make peace; someone to think things through, someone to charge ahead without thinking. Somehow all this must mesh. That’s the steepest challenge. Even after the right mixture is found, each man or woman in the boat must recognize his or her place in the fabric of the crew, accept it, and accept the others as they are. It is an exquisite thing when it all comes together in just the right way. The intense bonding and the sense of exhilaration that results from it are what many oarsmen row for, far more than for trophies or accolades. But it takes young men or women of extraordinary character as well as extraordinary physical ability to pull it off.

Aelin lifted her hands, opening her eyes to find her fingers wreathed in flame. Darkness spread over the world. Through the veil of gold and blue and red, she looked at her prince. She raised her burning hands helplessly between them. "She stole me--she took me. And I could feel her--feel her consciousness. It was like she was a spider, waiting in a web for decades, knowing I'd one day be strong and stupid enough to use my magic and the key together. I might as well have rung the dinner bell." Her fire burned hotter, brighter, and she let it build and rise and flicker.

Romanticism tells us that in order to make the most of our human potential we must have as many different experiences as we can. We must open ourselves to a wide spectrum of emotions; we must sample various kinds of relationships; we must try different cuisines; we must learn to appreciate different styles of music. One of the best ways to do all that is to break free from our daily routine, leave behind our familiar setting, and go travelling in distant lands, where we can ‘experience’ the culture, the smells, the tastes and the norms of other people. We hear again and again the romantic myths about ‘how a new experience opened my eyes and changed my life’. Consumerism tells us that in order to be happy we must consume as many products and services as possible. If we feel that something is missing or not quite right, then we probably need to buy a product (a car, new clothes, organic food) or a service (housekeeping, relationship therapy, yoga classes). Every television commercial is another little legend about how consuming some product or service will make life better. Romanticism, which encourages variety, meshes perfectly with consumerism. Their marriage has given birth to the infinite ‘market of experiences’, on which the modern tourism industry is founded.

She was this girl living in a bottomless hole of her thoughts. One day she saw a light. She felt the warmth and walked in its direction. It was there that she found him. He spoke to her and wove tendrils of love on her heart. His compassion was over whelming for her. His words, his love, his eyes- everything about him was so pure, so true. Her heart was getting intertwined with the love he was bestowing upon her. The mesh of affection he weaved around her heart made it breathe. And live. Vine by vine the mesh thickened. Today, he is her beloved. They are inseparable. He smiles, she smiles. They weave dreams. She loves him beyond infinity. He has her heart strings. And as he walks, she walks with him.

The word “coherence” literally means holding or sticking together, but it is usually used to refer to a system, an idea, or a worldview whose parts fit together in a consistent and efficient way. Coherent things work well: A coherent worldview can explain almost anything, while an incoherent worldview is hobbled by internal contradictions. … Whenever a system can be analyzed at multiple levels, a special kind of coherence occurs when the levels mesh and mutually interlock. We saw this cross-level coherence in the analysis of personality: If your lower-level traits match up with your coping mechanisms, which in turn are consistent with your life story, your personality is well integrated and you can get on with the business of living. When these levels do not cohere, you are likely to be torn by internal contradictions and neurotic conflicts. You might need adversity to knock yourself into alignment. And if you do achieve coherence, the moment when things come together may be one of the most profound of your life. … Finding coherence across levels feels like enlightenment, and it is crucial for answering the question of purpose within life. People are multilevel systems in another way: We are physical objects (bodies and brains) from which minds somehow emerge; and from our minds, somehow societies and cultures form. To understand ourselves fully we must study all three levels—physical, psychological, and sociocultural. There has long been a division of academic labor: Biologists studied the brain as a physical object, psychologists studied the mind, and sociologists and anthropologists studied the socially constructed environments within which minds develop and function. But a division of labor is productive only when the tasks are coherent—when all lines of work eventually combine to make something greater than the sum of its parts. For much of the twentieth century that didn’t happen — each field ignored the others and focused on its own questions. But nowadays cross-disciplinary work is flourishing, spreading out from the middle level (psychology) along bridges (or perhaps ladders) down to the physical level (for example, the field of cognitive neuroscience) and up to the sociocultural level (for example, cultural psychology). The sciences are linking up, generating cross-level coherence, and, like magic, big new ideas are beginning to emerge. Here is one of the most profound ideas to come from the ongoing synthesis: People gain a sense of meaning when their lives cohere across the three levels of their existence.

Beyond all of that, I could see the wall I had seen from inside the train, the wall that runs along the train line. I assumed that there, behind it, was the west, and I was right. I could have been wrong, but I was right.' If she had any future it was over there, and she needed to get to it. I sit in the chair exploring the meaning of dumbstruck, rolling the word around in my mind. I laugh with Miriam as she laughs at herself, and at the boldness of being sixteen. At sixteen you are invulnerable. I laugh with her about rummaging around for a ladder in other people's sheds, and I laugh harder when she finds one. We laugh at the improbability of it, of someone barely more than a child poking around in Beatrix Potter's garden by the Wall, watching out for Mr McGregor and his blunderbuss, and looking for a step-ladder to scale one of the most fortified barriers on earth. We both like the girl she was, and I like the woman she has become. She says suddenly, 'I still have the scars on my hands from climbing the barbed wire, but you can't see them so well now.' She holds out her hands. The soft parts of her palms are crazed with definite white scares, each about a centimeter long. The first fence was wire mesh with a roll of barbed wire along the top.

Straining to hear, I can make out something acoustic. Coming from...the backyard? I glance down from my bedroom window and feel my jaw fall open. Matt Finch is standing below my window, guitar strapped across his chest. I pull my window up, and I expect the song from that old movie - the one about a guy with a trench coat and the big radio and his heart on his sleeve. But it's not that. It's not anything I recognise, and I strain to make out the lyrics: Stop being ridiculous, stop being ridiculous, Reagan. What an asshole. The mesh screen and two floors between us don't seem like enough to protect him from my anger. "Nice apology," I call down to him. "I've apologised thirteen times," he yells back, "and so far you haven't called me back." I open my mouth to say it doesn't matter, but he's already redirecting the song. "Now I'm gonna stand here until you forgive me," he sings loudly, "or at least until you hear me out, la-la, oh-la-la. I drove seven hours overnight, and I won't leave until you come out here." (...) "This is private property!" My throat feel coarse from how loudly I'm yelling. "And that doesn't even rhyme!" The guitar chord continues as he sings, "Then call the cops, call the cops, call the cops..." I storm downstairs, my feet pounding against the staircase. When I turn the corner, my dad looks almost amused from his seat in the recliner. Noticing my expression, he stares back at his newspaper, as if I won't notice him. (...) "Dad. How did Matt know which window was mine?" "Well..." he peeks over the sports section. "I reckon I told him." "You talked to him?" My voice is no longer a voice. It's a shriek. "God, Dad!" He juts out his chin, defensive. "How was I supposed to know you had some sort of drama with him? He shows up, lookin' to serenade my daughter. Thought it seemed innocent enough. Sweet, even. Old-fashioned." "It's not any of those things! I hate him!

In the middle of the night, he woke up and realized to his surprise that he had been having one erotic dream after the other. The only one he could recall with any clarity was the last: an enormous naked woman, at least five times his size, floating on her back in a pool, her belly from crotch to navel covered with thick hair. Looking at her from the side of the pool, he was greatly excited. How could he have been excited when his body was debilitated by a gastric disorder? And how could he be excited by the sight of a woman who would have repelled him had he seen her while conscious? He thought: In the clockwork of the head, two cogwheels turn opposite each other. On the one, images; on the other, the body's reactions. The cog carrying the image of a naked woman meshes with the corresponding erection-command cog. But when, for one reason or another, the wheels go out of phase and the excitement cog meshes with a cog bearing the image of a swallow in flight, the penis rises at the sight of a swallow. Moreover, a study by one of Tomas's colleagues, a specialist in human sleep, claimed that during any kind of dream men have erections, which means that the link between erections and naked women is only one of a thousand ways the Creator can set the clockwork moving in a man's head. And what has love in common with all this? Nothing. If a cogwheel in Tomas's head goes out of phase and he is excited by seeing a swallow, it has absolutely no effect on his love for Tereza. If excitement is a mechanism our Creator uses for His own amusement, love is something that belongs to us alone and enables us to flee the Creator. Love is our freedom. Love lies beyond Es muss sein! Though that is not entirely true. Even if love is something other than a clockwork of sex that the Creator uses for His own amusement, it is still attached to it. It is attached to it like a tender naked woman to the pendulum of an enormous clock. Thomas thought: Attaching love to sex is one of the most bizarre ideas the Creator ever had. He also thought: One way of saving love from the stupidity of sex would be to set the clockwork in our head in such a way as to excite us at the sight of a swallow. And with that sweet thought he started dozing off. But on the very threshold of sleep, in the no-man's-land of muddled concepts, he was suddenly certain he had just discovered the solution to all riddles, the key to all mysteries, a new utopia, a paradise: a world where man is excited by seeing a swallow and Tomas can love Tereza without being disturbed by the aggressive stupidity of sex.

Not only could he share the memories, and control them, he could keep the link intact as their thoughts moved through time from the past to the present. The men of his clan enjoyed a richer, fuller ceremonial interrelationship than any other clan. But with the trained minds of the mog-urs, he could make the telepathic link from the beginning. Through him, all the mog-urs shared a union far closer and more satisfying than any physical one—it was a touching of spirits. The white liquid from Iza’s bowl that had heightened the perceptions and opened the minds of the magicians to The Mog-ur, had allowed his special ability to create a symbiosis with Ayla’s mind as well. The traumatic birth that damaged the brain of the disfigured man had impaired only a portion of his physical abilities, not the sensitive psychic overdevelopment that enabled his great power. But the crippled man was the ultimate end-product of his kind. Only in him had nature taken the course set for the Clan to its fullest extreme. There could be no further development without radical change, and their characteristics were no longer adaptable. Like the huge creature they venerated, and many others that shared their environment, they were incapable of surviving radical change. The race of men with social conscience enough to care for their weak and wounded, with spiritual awareness enough to bury their dead and venerate their great totem, the race of men with great brains but no frontal lobes, who made no great strides forward, who made almost no progress in nearly a hundred thousand years, was doomed to go the way of the woolly mammoth and the great cave bear. They didn’t know it, but their days on earth were numbered, they were doomed to extinction. In Creb, they had reached the end of their line. Ayla felt a sensation akin to the deep pulsing of a foreign bloodstream superimposed on her own. The powerful mind of the great magician was exploring her alien convolutions, trying to find a way to mesh. The fit was imperfect, but he found channels of similarity, and where none existed, he groped for alternatives and made connections where there were only tendencies. With startling clarity, she suddenly comprehended that it was he who had brought her out of the void; but more, he was keeping the other mog-urs, also linked with him, from knowing she was there. She could just barely sense his connection with them, but she could not sense them at all. They, too, knew he had made a connection with someone—or something—else, but never dreamed it was Ayla.

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.