Message For Death Quotes

That's what literature is. It's the people who went before us, tapping out messages from the past, from beyond the grave, trying to tell us about life and death! Listen to them!

The whole image is that eternal suffering awaits anyone who questions God's infinite love. That's the message we're brought up with, isn't it? Believe or die! Thank you, forgiving Lord, for all those options.

Oh, it can't be a reference to the fact Harry's a great Seeker, that's way too obvious. There must be a secret message from Dumbledore hidden in the icing!

Advice? I don’t have advice. Stop aspiring and start writing. If you’re writing, you’re a writer. Write like you’re a goddamn death row inmate and the governor is out of the country and there’s no chance for a pardon. Write like you’re clinging to the edge of a cliff, white knuckles, on your last breath, and you’ve got just one last thing to say, like you’re a bird flying over us and you can see everything, and please, for God’s sake, tell us something that will save us from ourselves. Take a deep breath and tell us your deepest, darkest secret, so we can wipe our brow and know that we’re not alone. Write like you have a message from the king. Or don’t. Who knows, maybe you’re one of the lucky ones who doesn’t have to.

Nico strode forward. The enemy army fell back before him like he radiated death, which of course he did. Through the face guard of his skull-shaped helmet, he smiled. "Got your message. Is it too late to join the party?" "Son of Hades." Kronos spit on the ground. "Do you love death so much you wish to experience it?" "Your death," Nico said, "would be great for me." "I'm immortal, you fool! I have escaped Tartarus. You have no business here, and no chance to live." Nico drew his sword-three feet of wicked sharp Stygian iron, black as a nightmare. "I don't agree.

Funeral Blues Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message He is Dead, Put crêpe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.

It's been a prevalent notion. Fallen sparks. Fragments of vessels broken at the Creation. And someday, somehow, before the end, a gathering back to home. A messenger from the Kingdom, arriving at the last moment. But I tell you there is no such message, no such home -- only the millions of last moments . . . nothing more. Our history is an aggregate of last moments.

He pulled the envelope out of his pocket and ripped it open, then took out the slip of paper. The soft lights that ringed the mirror lit up the message in a warm glow. It was two short sentences: " KILL ME. IF YOU'VE EVER BEEN MY FRIEND, KILL ME.

The only thing known to go faster than ordinary light is monarchy, according to the philosopher Ly Tin Wheedle. He reasoned like this: you can't have more than one king, and tradition demands that there is no gap between kings, so when a king dies the succession must therefore pass to the heir instantaneously. Presumably, he said, there must be some elementary particles -- kingons, or possibly queons -- that do this job, but of course succession sometimes fails if, in mid-flight, they strike an anti-particle, or republicon. His ambitious plans to use his discovery to send messages, involving the careful torturing of a small king in order to modulate the signal, were never fully expanded because, at that point, the bar closed.

Whenever you see flies or insects in a still life—a wilted petal, a black spot on the apple—the painter is giving you a secret message. He’s telling you that living things don’t last—it’s all temporary. Death in life. That’s why they’re called natures mortes. Maybe you don’t see it at first with all the beauty and bloom, the little speck of rot. But if you look closer—there it is.

So tonight I reach for my journal again. This is the first time I’ve done this since I came to Italy. What I write in my journal is that I am weak and full of fear. I explain that Depression and Loneliness have shown up, and I’m scared they will never leave. I say that I don’t want to take the drugs anymore, but I’m frightened I will have to. I am terrified that I will never really pull my life together. In response, somewhere from within me, rises a now-familiar presence, offering me all the certainties I have always wished another person would say to me when I was troubled. This is what I find myself writing on the page: I’m here. I love you. I don’t care if you need to stay up crying all night long. I will stay with you. If you need the medication again, go ahead and take it—I will love you through that, as well. If you don’t need the medication, I will love you, too. There’s nothing you can ever do to lose my love. I will protect you until you die, and after your death I will still protect you. I am stronger than Depression and Braver than Loneliness and nothing will ever exhaust me. Tonight, this strange interior gesture of friendship—the lending of a hand from me to myself when nobody else is around to offer solace—reminds me of something that happened to me once in New York City. I walked into an office building one afternoon in a hurry, dashed into the waiting elevator. As I rushed in, I caught an unexpected glance of myself in a security mirror’s reflection. In that moment, my brain did an odd thing—it fired off this split-second message: “Hey! You know her! That’s a friend of yours!” And I actually ran forward toward my own reflection with a smile, ready to welcome that girl whose name I had lost but whose face was so familiar. In a flash instant of course, I realized my mistake and laughed in embarrassment at my almost doglike confusion over how a mirror works. But for some reason that incident comes to mind again tonight during my sadness in Rome, and I find myself writing this comforting reminder at the bottom of the page. Never forget that once upon a time, in an unguarded moment, you recognized yourself as a FRIEND… I fell asleep holding my notebook pressed against my chest, open to this most recent assurance. In the morning when I wake up, I can still smell a faint trace of depression’s lingering smoke, but he himself is nowhere to be seen. Somewhere during the night, he got up and left. And his buddy loneliness beat it, too.

To all the ships at sea, and all the ports of call. To my family and to all friends and strangers. This is a message, and a prayer. The message is that my travels taught me a great truth. I already had what everyone is searching for and few ever find. The one person in the world who I was born to love forever. A person, like me, of the outer banks and the blue Atlantic mystery. A person rich in simple treasures. Self-made. Self-taught. A harbor where I am forever home. And no wind, or trouble or even a little death can knock down this house. The prayer is that everyone in the world can know this kind of love and be healed by it. If my prayer is heard, there will be an erasing of all guilt and all regret and an end to all anger. Please, God. Amen.

Relaxing with the present moment, relaxing with hopelessness, relaxing with death, not resisting the fact that things end, that things pass, that things have no lasting substance, that everything is changing all the time—that is the basic message.

If we really saw war, what war does to young minds and bodies, it would be impossible to embrace the myth of war. If we had to stand over the mangled corpses of schoolchildren killed in Afghanistan and listen to the wails of their parents, we would not be able to repeat clichés we use to justify war. This is why war is carefully sanitized. This is why we are given war's perverse and dark thrill but are spared from seeing war's consequences. The mythic visions of war keep it heroic and entertaining… The wounded, the crippled, and the dead are, in this great charade, swiftly carted offstage. They are war's refuse. We do not see them. We do not hear them. They are doomed, like wandering spirits, to float around the edges of our consciousness, ignored, even reviled. The message they tell is too painful for us to hear. We prefer to celebrate ourselves and our nation by imbibing the myths of glory, honor, patriotism, and heroism, words that in combat become empty and meaningless.

Back in Washington, alone in the late afternoon of December 7, a chastened Franklin Roosevelt considered the situation.  He may have wondered how things had gone so terribly wrong.  But what might have been was now hindsight—the United States was at war and was in it to win. He spoke quietly to his secretary, Grace Tully. “Sit down, Grace. I’m going before Congress tomorrow. I’d like to dictate my message. It will be short.” 

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

Most people who spew hatred aren’t very intelligent or motivated. They tend to be lazy, and if for some reason they are coaxed into picking up a pen, their messages are mostly incoherent and largely illiterate.

Funny, transformative events were not always scheduled and not always expected. Yeah, sure, your change turned you into a male. And when you went through the mating ceremony, you were part of a whole. No longer just yourself. And the deaths and the births around you made you view the world differently. But every once in a while, from out of the blue, someone reaches the quiet place where you spend your private time and changes the way you see yourself. If you’re lucky it’s your mate…the transformation reminds you once again that you are absolutely, positively with the right person: because what they say doesn’t touch you because of who they are to you, but because of the content of their message.

I want to tell the rebels that I am alive. That I'm right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women and children. There will be no survivors." The shock I've been feeling begins to give way to fury. "I want to tell people that if you think for one second the Capitol will treat us fairly if there's a cease-fire, you're deluding yourself. Because you know who they are and what they do." My hands go out automatically, as if to indicate the whole horror around me. "This is what they do and we must fight back!" "President Snow says he's sending a message. Well I have one for him. You can torture us and bomb and burn our districts to the ground, but do you see that?" One of the cameras follows where I point to the planes burning on the roof of a warehouse across from us. "Fire is catching!" I am shouting now, determined he will not miss a word of it, "And if we burn, you burn with us!

We need not fear death, for it is simply the next phase of life. We never die, we simply change form - just as we have since the day we were born.

It is a violation of human rights when babies are denied food, or drowned, or suffocated, or their spines broken, simply because they are born girls. It is a violation of human rights when women and girls are sold into the slavery of prostitution. It is a violation of human rights when women are doused with gasoline, set on fire and burned to death because their marriage dowries are deemed too small. It is a violation of human rights when individual women are raped in their own communities and when thousands of women are subjected to rape as a tactic or prize of war. It is a violation of human rights when a leading cause of death worldwide among women ages 14 to 44 is the violence they are subjected to in their own homes. It is a violation of human rights when young girls are brutalized by the painful and degrading practice of genital mutilation. It is a violation of human rights when women are denied the right to plan their own families, and that includes being forced to have abortions or being sterilized against their will. If there is one message that echoes forth from this conference, it is that human rights are women's rights - and women's rights are human rights. Let us not forget that among those rights are the right to speak freely - and the right to be heard. [From 'Women's Rights Are Human Rights' Speech Beijing, China: 5 September 1995]

His life spells living. Your life or my life, apart from Him, spells death.

Leni had never known anyone who had died before. She had seen death on television and read about it in her beloved books, but now she saw the truth of it. In literature, death was many things - a message, catharsis, retribution. There were deaths that came from a beating heart that stopped and deaths of another kind, a choice made, like Frodo going to the Grey Havens. Death made you cry, filled you with sadness, but in the best of her books, there was peace, too, satisfaction, a sense of the story ending as it should. In real life, she saw, it wasn't like that. It was sadness opening up inside of you, changing how you saw the world.

I guess I could call this energy freedom. No one will be around to judge me tomorrow. No one will send messages to his friends about the lame kid who had no rhythm. And in this moment, how stupid it is to care hits me like a punch to the face.

If flying-saucer creatures or angels or whatever were to come here in a hundred years, say, and find us gone like the dinosaurs, what might be a good message for humanity to leave for them, maybe carved in great big letters on a Grand Canyon wall? Here is this old poop's suggestion: WE PROBABLY COULD HAVE SAVED OURSELVES, BUT WERE TOO DAMNED LAZY TO TRY VERY HARD...

The status of celebrity offers the promise of being showered with ‘all good things’ that capitalism has to offer. The grotesque display of celebrity lives (and deaths) is the contemporary form of the cult of personality; those ‘famous for being famous’ hold out the spectacular promise of the complete erosion of a autonomously lived life in return for an apotheosis as an image. The ideological function of celebrity (and lottery systems) is clear - like a modern ‘wheel of fortune’ the message is ‘all is luck; some are rich, some are poor, that is the way the world is...it could be you!

Every other person who is at the heart of any religion has had his or her beginning either in fancy or in fact. But nevertheless, there is a beginning. Jesus' birth in Bethlehem was a moment preceded by eternity. His being neither originated in time nor came about by the will of humanity. The Author of time, who lived in the eternal, was made incarnate in time that we might live with the eternal in view. In that sense, the message of Christ was not the introduction of a religion, but an introduction to truth about reality as God alone knows it. To deny Jesus' message while pursuing spirituality is to conjure an imaginary religion in an attempt to see heaven while sight is confined to the earth. That is precisely what Jesus challenged when he said, "I have come that [you] may have life" (John 10:10). His life spells living. Your life or my life, apart from Him, spells death.

Master of masters, O maker of heroes, Thunder the brave, Irresistible message: 'Life is worth living Through every grain of it From the foundations To the last edge Of the cornerstone, death.

If you’re not aware of the transcendent, if you’re not awake to the glorious mystery of life and death that you’re lucky enough to be part of—if that doesn’t fill you with joy and strike you with awe … you might as well not be alive. That’s the message of the tragedies. Participate in the wonder. For your sake (...) -live it.

For the message of television as metaphor is not only that all the world is a stage but that the stage is located in Las Vegas, Nevada.

Messages are the death of an honest literary transaction with children

The Doctor: [hologram, speaking towards the console] This is Emergency Programme One. Rose, now listen, this is important. If this message is activated, then it can only mean one thing: we must be in danger, and I mean fatal. I'm dead, or about to die any second with no chance of escape. Rose Tyler: No! The Doctor: And that's OK, I hope it's a good death. But I promised to look after you, and that's what I'm doin'. The TARDIS is takin' you home. Rose Tyler: I won't let you. The Doctor: And I bet you're fussing and moaning now, typical. But hold on, and just listen a bit more. The TARDIS can never return for me. Emergency Programme One means I'm facing an enemy that should never get their hooves on this machine. So this is what you should do: let the TARDIS die. Just let this old box gather dust. No one can open it, no one will even notice it. Let it become a strange little thing standing on a street corner. And over the years, the world will move on, and the box will be buried. And if you wanna remember me, then you can do one thing. That's all, one thing. The Doctor: [hologram turns to face Rose, and with a full voice] Have a good life. Do that for me, Rose. Have a fantastic life.

Second, the reason to embrace and celebrate these novels as the countercultural event that they are is due largely to the subliminal messages delivered by Harry and friends in their stolen wheelbarrows. Readers walk away, maybe a little softer on the occult than they were, but with story-embedded messages: the importance of a pure soul; love's power even over death; about sacrifice and loyalty; a host of images and shadows about Christ and how essential 'right belief' is for personal transformation and victory over internal and external evils.

A message came from my youth of vanished days, saying, 'I wait for you among the quivering of unborn May, where smiles ripen for tears and hours ache with songs unsung.' It says, 'Come to me across the worn-out track of age, through the gates of death. For dreams fade, hopes fail, the fathered fruits of the year decay, but I am the eternal truth, and you shall meet me again and again in your voyage of life from shore to shore.

Keep that red-haired girl of yours in the open air all summer and don't let her read books until she gets more spring into her step." This message frightened Marilla wholesomely. She read Anne's death warrant by consumption in it unless it was scrupulously obeyed. As a result, Anne had the golden summer of her life as far as freedom and frolic went. She walked, rowed, berried, and dreamed to her heart's content; and when September came she was bright-eyed and alert, with a step that would have satisfied the Spencervale doctor and a heart full of ambition and zest once more. "I just feel like studying with might and main," she declared as she brought her books down from the attic. "Oh, you good old friends, I'm glad to see your honest face once more - yes, even you, geometry.

My dear young friends, I want to invite you to "dare to love". Do not desire anything less for your life than a love that is strong and beautiful and that is capable of making the whole of your existence a joyful undertaking of giving yourselves as a gift to God and your brothers and sisters, in imitation of the One who vanquished hatred and death for ever through love (cf. Rev 5:13). Love is the only force capable of changing the heart of the human person and of all humanity, by making fruitful the relations between men and women, between rich and poor, between cultures and civilizations. (Message for the 22nd World Youth Day: Palm Sunday, 1 April 2007)

Nowadays, of course, just about our only solvent industry is the merchandising of death, bankrolled by our grandchildren, so that the message of our principal art forms, movies and television and political speeches and newspaper columns, for the sake of the economy, simply has to be this: War is hell, all right, but the only way a boy can become a man is in a shoot-out of some kind, preferably, but by no means necessarily, on a battlefield.

She understood the genre constraints, the decencies were supposed to be observing. The morally cosy vision allows the embrace of monstrosity only as a reaction to suffering or as an act of rage against the Almighty. Vampire interviewee Louis is in despair at his brother’s death when he accepts Lestat’s offer. Frankenstein’s creature is driven to violence by the violence done to him. Even Lucifer’s rebellion emerges from the agony of injured price. The message is clear: By all means become an abomination—but only while unhinged by grief or wrath.

I spent my time drinking and staring at a television in the airport bar. More death and destruction. Crime. Pollution. All the news stories were telling me to be frightened. All the commercials were telling me to buy things I didn´t need. The message was that people could only be passive victims or consumers.

One day u will be the message...a message for those who still alive...

... without the incarnation, Christianity isn't even a very good story, and most sadly, it means nothing. "Be nice to one another" is not a message that can give my life meaning, assure me of love beyond brokenness, and break open the dark doors of death with the key of hope. The incarnation is an essential part of Jesus-shaped spirituality.

The highest art is that which awakens our dormant will-force, and nerves us to face the trials of life manfully. All that brings drowsiness and makes us shut our eyes to reality around-on the mastery of which alone life depends�is a message of decay and death.

A book is an attempt to make through permanent and to contribute to the great conversation conducted by authors of the past. […] The telegraph is suited only to the flashing of messages, each to be quickly replaced by a more up-to-date message. Facts push other facts into and then out of consciousness at speeds that neither permit nor require evaluation. (70)

No one will be around to judge me tomorrow. No one will send messages to friends about the lame kid who had no rhythm. And in this moment, how stupid it was to care hits me like a punch to the face. I wasted time and missed fun because I cared about the wrong things.

The first and foremost reality is that suffering and death are not only enemies of life, but a means of reminding us of life's twin realities, love and hate.

Wylan cleared his throat. “The chemistry is complicated. I was hoping Kuwei would help.” Nina said something to Kuwei in Shu. He shrugged and looked away, lip jutting out slightly. Whether it was the recent death of his father or the fact that he’d found himself stuck in a cemetery with a band of thieves, the boy had become increasingly sullen. “Well?” Jesper prodded. “I have other interests,” Kuwei replied. Kaz’s black gaze pinned Kuwei like the tip of a dagger. “I suggest rethinking your priorities.” Jesper gave Kuwei another nudge. “That’s Kaz’s way of saying, ‘Help Wylan or I’ll seal you up in one of these tombs and see how that suits your interests.’ ” Matthias was no longer sure what the Shu boy understood or didn’t, but apparently he’d received the message. Kuwei swallowed and nodded grudgingly. “The power of negotiation,” Jesper said, and shoved a cracker in his mouth.

Mister Rogers speaks directly into the camera to the little children who are quietly, intently watching: “It helps to say that you’re sad. Often it even helps to cry . . . let people know how you feel.” This is Rogers’s signature message: feelings are all right, whatever is mentionable is manageable, however confusing and scary life may become. Even with death and loss and pain, it’s okay to feel all of it, and then go on.

False religion may prevail, iniquity may abound, the love of many may wax cold, the cross of Calvary may be lost sight of, and darkness, like the pall of death, may spread over the world; the whole force of the popular current may be formed to overthrow the people of God; but in the hour of greatest peril the God of Elijah will raise up human instrumentalities to bear a message that will not be silenced.

This country is without hope. Even its garbage is clean, its trade lubricated, its traffic pacified. The latent, the lacteal, the lethal - life is so liquid, the signs and messages are so liquid, the bodies and the cars are so fluid, the hair so blond, and the soft technologies so luxuriant, that a European dreams of death and murder, of suicide motels, of orgies and cannibalism to counteract the perfection of the ocean, of the light, of that insane ease of life, to counteract the hyperreality of everything here.

The message they give to their children is: “If you don’t do exactly what I want you to do I won’t love you any more, and you can figure out for yourself what that might mean.” It means, of course, abandonment and death.

It is neither easy nor agreeable to dredge this abyss of viciousness, and yet I think it must be done, because what could be perpetrated yesterday could be attempted again tomorrow, could overwhelm us and our children. One is tempted to turn away with a grimace and close one's mind: this is a temptation one must resist. In fact, the existence of the death squads had a meaning, a message: 'We, the master race, are your destroyers, but you are no better than we are; if we so wish, and we do so wish, we can destroy not only your bodies, but also your souls, just as we have destroyed ours.

For the Church of Sweden, the Church of England, the German Lutheran Church and many other branches of European Christianity, the message of the religion has become a form of left-wing politics, diversity action and social welfare projects.

I should have written you a letter, it was too late to make the deaths of my brothers an excuse. Since they died, I wrote a book; why not a letter? A mysterious but truthful answer is that while I can gear myself up to do a novel, letters, real-life communications, are too much for me. I used to rattle them off easily enough; why is the challenge of writing to friends and acquaintances too much for me now? Because I have become such a solitary, and not in the Aristotelian sense: not a beast, not a god. Rather, a loner troubled by longings, incapable of finding a suitable language and despairing at the impossibility of composing messages in a playable key--as if I no longer understood the codes used by the estimable people who wanted to hear from me and would have so much to reply if only the impediments were taken away.

Ask and it shall be given you,'" I began. "'Seek and ye shall find; knock, and it shall be opened unto you; For every one that asketh receiveth; and he that seeketh findeth; and to him that knocketh it shall be opened.' We have the same message in the Book of Saint John," I said, sounding for all the world like a preacher...." Well, but how could I just stop there? Those words were worse than nothing if I didn't tell what they meant to Grandpa. Looking at the long rough box, I spoke timid, in a mumbled voice. Not preachified at all. "Grandpa didn't think Jesus meant, by that, that we should ast God for things, or for special favors. He said we could trust that in the nature of things, without astin', we'll get lots of blessin's and happy surprises and maybe a miracle or two. When Jesus said ast and you'll get it, He meant things of the spirit, not the flesh. Right now for instance, I could ast, 'Lord please raise Grandpa from the dead,' but it wouldn't happen. But I can say, 'Please, God, comfort me,' and I'll get heart's ease. Grandpa said Jesus meant us to ast for hope, forgiveness, and all that. Ast, 'Hep us not be scared, hep us not be greedy, give us courage to try." I was really carried away. "Ast any such and God will give it to you. But don't ast Him not to let fire burn, or say spare me from death. At least, uh, that's what Grandpa said.

Something I learned very quickly was that grieving was complicated by lack of certainty, that the hope inherent in a missing loved one was also a species of curse. People posted about children who had gone missing upwards of fifteen years ago and whose faces were now impossible to conjure, about friends who had messaged to confirm a meeting place and then simply never showed up. In almost every case, the sense of loss was convoluted by an ache of possibility, by the almost-but-not-quite-negligible hope of reprieve. Deus ex machina – the missing loved one thrown back down to earth. Grief is selfish: we cry for ourselves without the person we have lost far more than we cry for the person – but more than that, we cry because it helps. The grief process is also the coping process and if the grief is frozen by ambiguity, by the constant possibility of reversal, then so is the ability to cope.

For me, the good death includes being prepared to die, with my affairs in order, the good and bad messages delivered that need delivering. The good death means dying while I still have my mind sharp and aware; it also means dying without having to endure large amounts of suffering and pain. The good death means accepting death as inevitable, and not fighting it when the time comes. This is my good death, but as legendary psychotherapist Carl Jung said, "It won't help to hear what I think about death." Your relationship to mortality is your own.

In literature, death was many things—a message, catharsis, retribution. There were deaths that came from a beating heart that stopped and deaths of another kind, a choice made, like Frodo going to the Grey Havens. Death made you cry, filled you with sadness, but in the best of her books, there was peace, too, satisfaction, a sense of the story ending as it should. In real life, she saw, it wasn’t like that. It was sadness opening up inside of you, changing how you saw the world.

The messages of a prophet...affect the decisions of kings. The decisions of kings determine not just the course of nations but also the life and death of individuals in those countries. If we become so enamored with our own little world that we disregard the nations, we are no better than those who focus on nations and ruthlessly disregard human life.

I see the way you look at me. I feel the way you touch me. I hear the hidden messages in your voice. Unlike you, I’ve been blessed knowing the warmth that comes with love. The way a person’s eyes glow and body softens. You love me! And if you can stand there and deny it—when it’s so blatantly obvious—then there really is no hope for us. You might as well march me outside and complete the Final Debt, because I’d rather you kill me quickly than live through this endless death!”-Nila

I loved my brother and I understand why he thought he couldn't live the future laid before him, but I also hate him a little for leaving me like that. And also for the message he left behind - one that he himself didn't listen to. He let them brake him. And in turn, his death nearly broke me.

The universe is full of echoes and shadows, the afterimages and last words of dead civilizations that have lost the struggle against entropy. Fading ripples in the cosmic background radiation, it is doubtful if most, or any, of these messages will ever be deciphered. Likewise, most of our thoughts and memories are destined to fade, to disappear, to be consumed by the very act of choosing and living. That is not a cause for sorrow, sweetheart. It is the fate of every species to disappear into the void that is the heat death of the universe. But long before then, the thoughts of any intelligent species worthy of the name will become as grand as the universe itself.

After three years of English at Cambridge, being force-fed literary theory, I was almost convinced that literature was all coded messages about Marxism and the death of the self. I crawled out of the post-structuralist desert thirsty for heroines I could cry and laugh with. I was jaded. I craved trash.

More than 90 percent of these accidents are caused by very human errors: somebody drinking alcohol and driving, somebody texting a message while driving, somebody falling asleep at the wheel, somebody daydreaming instead of paying attention to the road. The National Highway Traffic Safety Administration estimated in 2012 that 31 percent of fatal crashes in the United States involved alcohol abuse, 30 percent involved speeding, and 21 percent involved distracted drivers.7 Self-driving vehicles will never do any of these things. Though they suffer from their own problems and limitations, and though some accidents are inevitable, replacing all human drivers by computers is expected to reduce deaths and injuries on the road by about 90 percent.8 In other words, switching to autonomous vehicles is likely to save the lives of one million people every year.

Love and intimacy are at the root of what makes us sick and what makes us well, what causes sadness and what brings happiness, what makes us suffer and what leads to healing. … I am not aware of any other factor in medicine—not diet, not smoking, not exercise, not stress, not genetics, not drugs, not surgery—that has a greater impact on our quality of life, incidence of illness, and premature death from all causes.

With time to think, the full reality of what had happened hit Thomas like a falling boulder. Ever since Thomas had entered the Maze, Newt had been there for him. Thomas hadn’t realized just how much of a friend he’d become until now. His heart hurt. He tried to remind himself that Newt wasn’t dead. But in some ways this was worse. In most ways. He’d fallen down the slope of insanity, and he was surrounded by bloodthirsty Cranks. And the prospect of never seeing him again was almost unbearable. [...] He pulled the envelope out of his pocket and ripped it open, then took out the slip of paper. The soft lights that ringed the mirror lit up the message in a warm glow. It was two short sentences: Kill me. If you’ve ever been my friend, kill me. Thomas read it over and over, wishing the words would change. To think that his friend had been so scared that he’d had the foresight to write those words made him sick to his stomach. And he remembered how angry Newt had been at Thomas specifically when they’d found him in the bowling alley. He’d just wanted to avoid the inevitable fate of becoming a Crank. And Thomas had failed him. [...] “Newt suddenly twisted around and grabbed Thomas by the hand holding the gun. He yanked it toward himself, forcing it up until the end of the pistol was pressed against his own forehead. “Now make amends! Kill me before I become one of those cannibal monsters! Kill me! I trusted you with the note! No one else. Now do it!” Thomas tried to pull his hand away, but Newt was too strong. “I can’t, Newt, I can’t.” “Make amends! Repent for what you did!” The words tore out of him, his whole body trembling. Then his voice dropped to an urgent, harsh whisper. “Kill me, you shuck coward. Prove you can do the right thing. Put me out of my misery.” The words horrified Thomas. “Newt, maybe we can—” “Shut up! Just shut up! I trusted you! Now do it!” “I can’t.” “Do it!” “I can’t!” How could Newt ask him to do something like this? How could he possibly kill one of his best friends? “Kill me or I’ll kill you. Kill me! Do it!” “Newt …” “Do it before I become one of them!” “I …” “KILL ME!” And then Newt’s eyes cleared, as if he’d gained one last trembling gasp of sanity, and his voice softened. “Please, Tommy. Please.” With his heart falling into a black abyss, Thomas pulled the trigger.

Sophie Scholl faced her own death with supreme fearlessness and a deep faith in her moral, political and religious convictions. She showed that brutal dictatorships can only be averted through the courage and resistance of all citizens. She walked towards the guillotine calmly and with no trace of fear, believing that what she had done was the right thing to do. There have been many brave indiviuals in history. Sophie Scholl walks alongside the very bravest of them all. A white rose that will never die - with a profound message: FREEDOM Please pass Sophie's message on.

Time hangs suspended, and yet it's about to end. Death should be a seduction, not a rape. Given one more minute he could do so much. Even the guilty are allowed to make a phone call, send a message. How alive he feels, how brightly he shines, like a lit fuse, a firecracker about to go off. What he wouldn't give for a minute more, just one ordinary minute tacked cudely onto the end of his life.

Nothing is more creative than death, since it is the whole secret of life. It means that the past must be abandoned, that the unknown cannot be avoided, that “I” cannot continue, and that nothing can be ultimately fixed. When a man knows this, he lives for the first time in his life. By holding his breath, he loses it. By letting go he finds it.

many of us have been convinced that we carry the darkness within us, in our selfish genes. “It is simply human nature,” we’re told, “to rape and kill and enslave—and anyone who thinks otherwise is a foolish romantic.” This messaging not only offends our decency and dignity, it insults our intelligence. The depiction of human nature embedded in the NPP isn’t science; it’s a marketing campaign for the status quo.

Whenever you see flies or insects in a still life—a wilted petal, a black spot on the apple—the painter is giving you a secret message. He’s telling you that living things don’t last—it’s all temporary. Death in life. That’s why they’re called natures mortes. Maybe you don’t see it at first, with all the beauty and bloom, the little speck of rot. But if you look closer—there it is.

While I was wallowing in self-pity, focused on myself, there was a whole world with literally billions of people who had no idea who God is, how amazing He is, and the wonders He has done for us. They are the ones who are really suffering. They don’t know His hope, His peace, and His love that transcends all understanding. They don’t know the message of the gospel. After loving us with the most humble life and the most horrific death, Jesus told us, “As I have loved you, go and love one another.” How could I consider myself a follower of Jesus if I was not willing to live as He lived? To die as He died? To love the unloved and give hope to the hopeless?

Patriarchy is itself the prevailing religion of the entire planet, and its essential message is necrophilia. All of the so-called religions legitimating patriarchy are mere sects subsumed under its vast umbrella/canopy. All— from buddhism and hinduism to islam, judaism, christianity, to secular derivatives such as freudianism, jungianism, marxism, and maoism— are infrastructures of the edifice of patriarchy.

They say the dead can’t speak, but they can! The people in this book died over sixty years ago, in the middle of the ocean, with no one around them for miles, but they still speak to you. They still send us messages—about love and courage and death! That’s what history is, and science, and art. That’s what literature is. It’s the people who went before us, tapping out messages from the past, from beyond the grave, trying to tell us about life and death! Listen to them!

Now, how do you think this door works ... ?” Brynne took one look at it and kicked it open. “Wait ... that’s it?” said Aru. “I thought there’d be more to it! Like in Lord of the Rings, where there’s a riddle door with the message ‘speak friend and enter.’ Except I can’t remember what friend is in Elvish.” Brynne rolled her eyes, but her smile was warm. She stepped through first. Aiden held open the door for Aru. As she walked past him, he said, “It’s mellon, by the way.” “Nerd.

Do you love your country and your king?" Karigan paused. What a curious question. King Zachary was relatively new to the throne and she knew little of his policies or methods, but it wouldn't do to sound disloyal to a dying servant of Sacoridia. "Yes." "I'm a messenger...Green Rider." The young man's body spasmed with pain, and blood dribbled over his lip and down his chin. "The satchel on the saddle...important message for...king. Life or death. If you love Sacor...Sacoridia and its king, take it. Take it to him.

Say to my friends, when they look upon me, dead, Weeping for me and mourning me in sorrow, ‘Do not believe that this corpse you see is myself, In the name of God, I tell you, it is not I, I am a spirit, and this is naught but flesh, It was my abode and my garment for a time. I am a treasure, by a talisman kept hid, Fashioned of dust, which served me as a shrine, I am a pearl, which has left it’s shell deserted, I am a bird, and this body was my cage, Whence I have now flown forth and it is left as a token, Praise to God, who hath now set me free, And prepared for me my place in the highest of the Heavens, Until today I was dead, though alive in your midst. Now I live in truth, with the grave – clothes discarded. Today I hold converse with the Saints above, With no veil between, I see God face to face. I look upon “Loh-i-Mahfuz” and there in I read, Whatever was and is, and all that is to be. Let my house fall in ruins, lay my cage in the ground, Cast away the talisman, it is a token no more, Lay aside my cloak, it was but my outer garment. Place them all in the grave, let them be forgotten, I have passed on my way and you are left behind, Your place of abode was no dwelling place for me. Think not that death is death, nay, it is life, A life that surpasses all we could dream of here, While in this world, here we are granted sleep, Death is but sleep, sleep that shall be prolonged Be not frightened when death draweth nigh, It is but the departure for this blessed home, Think of the mercy and love of your Lord, Give thanks for His Grace and come without fear. What I am now, even so shall you be, For I know that you are even as I am, The souls of all men come forth from God, The bodies of all are compounded alike, Good and evil, alike it was ours. I give you now a message of good cheer May God’s peace and joy forever more be yours.

Most of us are painfully aware that we’re not perfect parents. We’re also deeply grieved that we don’t have perfect kids. But the remedy to our mutual imperfections isn’t more law, even if it seems to produce tidy or polite children. Christian children (and their parents) don’t need to learn to be “nice.” They need death and resurrection and a Savior who has gone before them as a faithful high priest, who was a child himself, and who lived and died perfectly in their place. They need a Savior who extends the offer of complete forgiveness, total righteousness, and indissoluble adoption to all who will believe. This is the message we all need. We need the gospel of grace and the grace of the gospel. Children can’t use the law any more than we can, because they will respond to it the same way we do. They’ll ignore it or bend it or obey it outwardly for selfish purposes, but this one thing is certain: they won’t obey it from the heart, because they can’t. That’s why Jesus had to die.

They rode for a while in silence, a tiny island in the smoky stream of marching men. Then Lee said slowly, in a strange, soft, slow tone of voice, "Soldiering has one great trap." Longstreet turned to see his face. Lee was riding slowly ahead, without expression. He spoke in that same slow voice. "To be a good soldier you must love the army. But to be a good officer you must be willing to order the death of the thing you love. This is...a very hard thing to do. No other profession requires it. That is one reason why there are so very few good officers. Although there are many good men." Lee rarely lectured. Longstreet sensed a message beyond it. He waited. Lee said, "We don't fear our own deaths, you and I." He smiled slightly, then glanced away. "We protect ourselves out of military necessity, not do not protect yourself enough and must give thought to it. I need you. But the point is, we are afraid to die. We are prepared for our own deaths, and for the deaths of comrades. We learn that at the Point. But I have seen this happen: we are not prepared for as many deaths as we have to face, inevitably as the war goes on. There comes a time..." He paused. He had been gazing straight ahead, away from Longstreet. Now, black-eyed, he turned back, glanced once quickly into Longstreet's eyes, then looked away. "We are never prepared for so many to die. So you understand? No one is. We expect some chosen few. We expect an occasional empty chair, a toast to dear departed comrades. Victory celebrations for most of us, a hallowed death for a few. But the war goes on. And the men die. The price gets ever higher. Some officers...can pay no longer. We are prepared to lose some of us." He paused again. "But never ALL of us. Surely not all of us. But...that is the trap. You can hold nothing back when you attack. You must commit yourself totally. And yet ,if they all die, a man must ask himself, will it have been worth it?

I feel to that the gap between my new life in New York and the situation at home in Africa is stretching into a gulf, as Zimbabwe spirals downwards into a violent dictatorship. My head bulges with the effort to contain both worlds. When I am back in New York, Africa immediately seems fantastical – a wildly plumaged bird, as exotic as it is unlikely. Most of us struggle in life to maintain the illusion of control, but in Africa that illusion is almost impossible to maintain. I always have the sense there that there is no equilibrium, that everything perpetually teeters on the brink of some dramatic change, that society constantly stands poised for some spasm, some tsunami in which you can do nothing but hope to bob up to the surface and not be sucked out into a dark and hungry sea. The origin of my permanent sense of unease, my general foreboding, is probably the fact that I have lived through just such change, such a sudden and violent upending of value systems. In my part of Africa, death is never far away. With more Zimbabweans dying in their early thirties now, mortality has a seat at every table. The urgent, tugging winds themselves seem to whisper the message, memento mori, you too shall die. In Africa, you do not view death from the auditorium of life, as a spectator, but from the edge of the stage, waiting only for your cue. You feel perishable, temporary, transient. You feel mortal. Maybe that is why you seem to live more vividly in Africa. The drama of life there is amplified by its constant proximity to death. That’s what infuses it with tension. It is the essence of its tragedy too. People love harder there. Love is the way that life forgets that it is terminal. Love is life’s alibi in the face of death. For me, the illusion of control is much easier to maintain in England or America. In this temperate world, I feel more secure, as if change will only happen incrementally, in manageable, finely calibrated, bite-sized portions. There is a sense of continuity threaded through it all: the anchor of history, the tangible presence of antiquity, of buildings, of institutions. You live in the expectation of reaching old age. At least you used to. But on Tuesday, September 11, 2001, those two states of mind converge. Suddenly it feels like I am back in Africa, where things can be taken away from you at random, in a single violent stroke, as quick as the whip of a snake’s head. Where tumult is raised with an abruptness that is as breathtaking as the violence itself.

(Lily and Rule discussing wedding plans...) "You want to get married by Carl?" "Your father's cook?" "Yes, and I've been wanting to talk about the doves." "Doves." Her eyes widened in horror. "My mother wanted doves." "Perhaps she had a point. Wouldn't it look splendid, releasing a few dozen white doves all at once to carry our message of hope and love up to --" "Your are so full of shit." But she started laughing. "Doves, sure. Our guests would love some flying hors d'oeuvres. Maybe we should have some cute little bunnies for them to chase after the ceremony instead of cake, sending our message of fuzzy, yummy love to flesh eaters everywhre.

Dear Jim." The writing grew suddenly blurred and misty. And she had lost him again--had lost him again! At the sight of the familiar childish nickname all the hopelessness of her bereavement came over her afresh, and she put out her hands in blind desperation, as though the weight of the earth-clods that lay above him were pressing on her heart. Presently she took up the paper again and went on reading: "I am to be shot at sunrise to-morrow. So if I am to keep at all my promise to tell you everything, I must keep it now. But, after all, there is not much need of explanations between you and me. We always understood each other without many words, even when we were little things. "And so, you see, my dear, you had no need to break your heart over that old story of the blow. It was a hard hit, of course; but I have had plenty of others as hard, and yet I have managed to get over them,--even to pay back a few of them,--and here I am still, like the mackerel in our nursery-book (I forget its name), 'Alive and kicking, oh!' This is my last kick, though; and then, tomorrow morning, and--'Finita la Commedia!' You and I will translate that: 'The variety show is over'; and will give thanks to the gods that they have had, at least, so much mercy on us. It is not much, but it is something; and for this and all other blessings may we be truly thankful! "About that same tomorrow morning, I want both you and Martini to understand clearly that I am quite happy and satisfied, and could ask no better thing of Fate. Tell that to Martini as a message from me; he is a good fellow and a good comrade, and he will understand. You see, dear, I know that the stick-in-the-mud people are doing us a good turn and themselves a bad one by going back to secret trials and executions so soon, and I know that if you who are left stand together steadily and hit hard, you will see great things. As for me, I shall go out into the courtyard with as light a heart as any child starting home for the holidays. I have done my share of the work, and this death-sentence is the proof that I have done it thoroughly. They kill me because they are afraid of me; and what more can any man's heart desire? "It desires just one thing more, though. A man who is going to die has a right to a personal fancy, and mine is that you should see why I have always been such a sulky brute to you, and so slow to forget old scores. Of course, though, you understand why, and I tell you only for the pleasure of writing the words. I loved you, Gemma, when you were an ugly little girl in a gingham frock, with a scratchy tucker and your hair in a pig-tail down your back; and I love you still. Do you remember that day when I kissed your hand, and when you so piteously begged me 'never to do that again'? It was a scoundrelly trick to play, I know; but you must forgive that; and now I kiss the paper where I have written your name. So I have kissed you twice, and both times without your consent. "That is all. Good-bye, my dear" Then am I A happy fly, If I live Or if I die

Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know. Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost. Belonging to a very select club (which sports one Jewish name—that of the treasurer) is genteel poshlost. Hack reviews are frequently poshlost, but it also lurks in certain highbrow essays. Poshlost calls Mr. Blank a great poet and Mr. Bluff a great novelist. One of poshlost’s favorite breeding places has always been the Art Exhibition; there it is produced by so-called sculptors working with the tools of wreckers, building crankshaft cretins of stainless steel, Zen stereos, polystyrene stinkbirds, objects trouvés in latrines, cannonballs, canned balls. There we admire the gabinetti wall patterns of so-called abstract artists, Freudian surrealism, roric smudges, and Rorschach blots—all of it as corny in its own right as the academic “September Morns” and “Florentine Flowergirls” of half a century ago. The list is long, and, of course, everybody has his bête noire, his black pet, in the series. Mine is that airline ad: the snack served by an obsequious wench to a young couple—she eyeing ecstatically the cucumber canapé, he admiring wistfully the hostess. And, of course, Death in Venice. You see the range.

After changing shape several times, the ball eventually turned into a huge face. It floated alongside the air-car. This time, time instead of sending him a mental message, the face spoke out aloud and the whole air-car vibrated with its intensity. “If you are foolish enough to renege on your contract, you will be severely punished. For your sake, I hope you wouldn’t do such a thing.” When Tarmy made no attempt to respond, the face turned and pressed itself against the millipede-free window. A moment later, Tarmy felt the fat slug entering his mind, the sign that the face was attempting to use its powers to obtain his response by other means. But as the slug dug deeper, Samantha’s cover stories began springing out of the corners of his mind. Instead of obtaining Tarmy’s agreement, all that the face saw was a burning army transporter surrounded by bodies. Undeterred, the face continued its assault. Samantha had anticipated that Tarmy might come up against an adept, so the mental images of death and destruction flowed unchecked. After failing to break Tarmy’s defences, the face removed the slug and tried reason. “You can’t win, Mr Tarleton, so why don’t you do yourself a favour and cooperate? It will be better for you in the long run. Now, where is the miniature pulse drive engine?” Tarmy realised why the millipedes hadn’t been allowed to attack. It was obvious that the Great Ones were hoping to retrieve the engine. When Tarmy didn’t respond, the face said, “I am prepared to overlook your desertion if you agree to tell us where the engine is and also honour your contract by showing us how to convert the engine into a bomb.

Here, then, is the message of Easter, or at least the beginning of that message. The resurrection of Jesus doesn’t mean, “It’s all right. We’re going to heaven now.” No, the life of heaven has been born on this earth. It doesn’t mean, “So there is a life after death.” Well, there is, but Easter says much, much more than that. It speaks of a life that is neither ghostly nor unreal, but solid and definite and practical. The Easter stories come at the end of the four gospels, but they are not about an “end.” They are about a beginning. The beginning of God’s new world. The beginning of the kingdom. God is now in charge, on earth as in heaven. And God’s “being-in-charge” is focused on Jesus himself being king and Lord. The title on the cross was true after all. The resurrection proves it.

People had always amazed him, he began. But they amazed him more since the sickness. For as long as the two of them had been together, he said, Gary’s mother had accepted him as her son’s lover, had given them her blessing. Then, at the funeral, she’d barely acknowledged him. Later, when she drove to the house to retrieve some personal things, she’d hunted through her son’s drawers with plastic bags twist-tied around her wrists. “…And yet,” he whispered, “The janitor at school--remember him? Mr. Feeney? --he’d openly disapproved of me for nineteen years. One of the nastiest people I knew. Then when the news about me got out, after I resigned, he started showing up at the front door every Sunday with a coffee milkshake. In his church clothes, with his wife waiting out in the car. People have sent me hate mail, condoms, Xeroxed prayers…” What made him most anxious, he told me, was not the big questions--the mercilessness of fate, the possibility of heaven. He was too exhausted, he said, to wrestle with those. But he’d become impatient with the way people wasted their lives, squandered their chances like paychecks. I sat on the bed, massaging his temples, pretending that just the right rubbing might draw out the disease. In the mirror I watched us both--Mr. Pucci, frail and wasted, a talking dead man. And myself with the surgical mask over my mouth, to protect him from me. “The irony,” he said, “… is that now that I’m this blind man, it’s clearer to me than it’s ever been before. What’s the line? ‘Was blind but now I see…’” He stopped and put his lips to the plastic straw. Juice went halfway up the shaft, then back down again. He motioned the drink away. “You accused me of being a saint a while back, pal, but you were wrong. Gary and I were no different. We fought…said terrible things to each other. Spent one whole weekend not speaking to each other because of a messed up phone message… That time we separated was my idea. I thought, well, I’m fifty years old and there might be someone else out there. People waste their happiness--That’s what makes me sad. Everyone’s so scared to be happy.” “I know what you mean,” I said. His eyes opened wider. For a second he seemed to see me. “No you don’t,” he said. “You mustn’t. He keeps wanting to give you his love, a gift out and out, and you dismiss it. Shrug it off because you’re afraid.” “I’m not afraid. It’s more like…” I watched myself in the mirror above the sink. The mask was suddenly a gag. I listened. “I’ll give you what I learned from all this,” he said. “Accept what people offer. Drink their milkshakes. Take their love.

A network can be destroyed by noises that attack and transform it, if the codes in place are unable to normalize and repress them. Although the new order is not contained in the structure of the old, it is nonetheless not a product of chance. It is created by the substitution of new differences for the old differences. Noise is the source of these mutations in the structuring codes. For despite the death it contains, noise carries order within itself; it carries new information. This may seem strange. But noise does in fact create a meaning: first, because the interruption of a message signifies the interdiction of the transmitted meaning, signifies censorship and rarity; and second, because the very absence of meaning in pure noise or in the meaningless repetition of a message, by unchanneling auditory sensations, frees the listener’s imagination. The absence of meaning is in this case the presence of all meanings, absolute ambiguity, a construction outside meaning. The presence of noise makes sense, makes meaning. It makes possible the creation of a new order on another level of organization, of a new code in another network.

Bob,” she said, “offerings burned in the mortal world appear on this altar, right?” Bob frowned uncomfortably, like he wasn’t ready for a pop quiz. “Yes?” “So what happens if I burn something on the altar here?” “Uh…” “That’s all right,” Annabeth said. “You don’t know. Nobody knows, because it’s never been done.” There was a chance, she thought, just the slimmest chance that an offering burned on this altar might appear at Camp Half-Blood. Doubtful, but if it did work… “Annabeth?” Percy said again. “You’re planning something. You’ve got that I’m-planning-something look.” “I don’t have an I’m-planning-something look.” “Yeah, you totally do. Your eyebrows knit and your lips press together and—” “Do you have a pen?” she asked him. “You’re kidding, right?” He brought out Riptide. “Yes, but can you actually write with it?” “I—I don’t know,” he admitted. “Never tried.” He uncapped the pen. As usual, it sprang into a full-sized sword. Annabeth had watched him do this hundreds of times. Normally when he fought, Percy simply discarded the cap. It always appeared in his pocket later, as needed. When he touched the cap to the point of the sword, it would turn back into a ballpoint pen. “What if you touch the cap to the other end of the sword?” Annabeth said. “Like where you’d put the cap if you were actually going to write with the pen.” “Uh…” Percy looked doubtful, but he touched the cap to the hilt of the sword. Riptide shrank back into a ballpoint pen, but now the writing point was exposed. “May I?” Annabeth plucked it from his hand. She flattened the napkin against the altar and began to write. Riptide’s ink glowed Celestial bronze. “What are you doing?” Percy asked. “Sending a message,” Annabeth said. “I just hope Rachel gets it.” “Rachel?” Percy asked. “You mean our Rachel? Oracle of Delphi Rachel?” “That’s the one.” Annabeth suppressed a smile. Whenever she brought up Rachel’s name, Percy got nervous. At one point, Rachel had been interested in dating Percy. That was ancient history. Rachel and Annabeth were good friends now. But Annabeth didn’t mind making Percy a little uneasy. You had to keep your boyfriend on his toes. Annabeth finished her note and folded the napkin. On the outside, she wrote: Connor, Give this to Rachel. Not a prank. Don’t be a moron. Love, Annabeth She took a deep breath. She was asking Rachel Dare to do something ridiculously dangerous, but it was the only way she could think of to communicate with the Romans—the only way that might avoid bloodshed. “Now I just need to burn it,” she said. “Anybody got a match?” The point of Bob’s spear shot from his broom handle. It sparked against the altar and erupted in silvery fire. “Uh, thanks.” Annabeth lit the napkin and set it on the altar. She watched it crumble to ash and wondered if she was crazy. Could the smoke really make it out of Tartarus? “We should go now,” Bob advised. “Really, really go. Before we are killed.” Annabeth stared at the wall of blackness in front of them. Somewhere in there was a lady who dispensed a Death Mist that might hide them from monsters—a plan recommended by a Titan, one of their bitterest enemies. Another dose of weirdness to explode her brain. “Right,” she said. “I’m ready.” ANNABETH LITERALLY STUMBLED over the second Titan.

The answer to all questions of life and death, "the absolute solution" was written all over the world he had known: it was like a traveller realising that the wild country he surveys is not an accidental assembly of natural phenomena, but the page in a book where these mountains and forests, and fields, and rivers are disposed in such a way as to form a coherent sentence; the vowel of a lake fusing with the consonant of a sibilant slope; the windings of a road writing its message in a round hand, as clear as that of one's father; trees conversing in dumb-show, making sense to one who has learnt the gestures of their language... Thus the traveller spells the landscape and its sense is disclosed, and likewise, the intricate pattern of human life turns out to be monogrammatic, now quite clear to the inner eye disentangling the interwoven letters. And the word, the meaning which appears is astounding in its simplicity: the greatest surprise being perhaps that in the course of one's earthly existence, with one's brain encompassed by an iron ring, by the close-fitting dream of one's own personality - one had not made by chance that simple mental jerk, which would have set free imprisoned thought and granted it the great understanding.

The Big Lie in the church today is that you are nothing more than “a sinner saved by grace.” You are a lot more than that. You are a new creation in Christ. The New Testament calls you a saint, a holy one, a son of God. In the core of your being you are a good man. Yes, there is a war within us, but it is a civil war. The battle is not between us and God; no, there is a traitor within who wars against our true heart fighting alongside the Spirit of God in us: A new power is in operation. The Spirit of life in Christ, like a strong wind, has magnificently cleared the air, freeing you from a fated lifetime of brutal tyranny at the hands of sin and death . . . Anyone, of course, who has not welcomed this invisible but clearly present God, the Spirit of Christ, won’t know what we’re talking about. But for you who welcome him, in whom he dwells . . . if the alive-and-present God who raised Jesus from the dead moves into your life, he’ll do the same thing in you that he did in Jesus . . . When God lives and breathes in you (and he does, as surely as he did in Jesus), you are delivered from that dead life. (Rom. 8:2–3, 9–11 The Message) The real you is on the side of God against the false self. Knowing this makes all the difference in the world.

Part of the apparently conventional nature of our relationships is the threat of separation and death. This body dies. That body dies. We can rejuvenate, feel better, live longer, but, even so, in this world everybody dies. That is why we do spiritual practice, because we are conscious of the destiny of our separation. We are willing to fulfill the law of love, but on the other hand what we love dies. That is why this is one of the realms of suffering. This world is not a heaven. This is not a place of fulfillment. Thus, we must yield to the true Condition. We must not become dependent upon the conventional aspect of our relations. We must recognize our relations. We must identify with the Condition of the loved one. You must become established in the real Condition, or you will never be satisfied. You will be driven to all kinds of preoccupations and great schemes, trying to become victorious or immortal, for immortality's own sake, simply because you cannot deal with the fact of death. But death is an absolute message in this realm. It obligates us to recognize or identify one another in Truth, and we are not relieved of that obligation in this place.

No one has expressed what is needed better than Abdel Rahman al-Rashed, the general manager of the London-based al-Arabiya news channel. One of the best-known and most respected Arab journalists working today, he wrote the following, in Al-Sharq Al-Awsat (September 6, 2004), after a series of violent incidents involving Muslim extremist groups from Chechnya to Saudi Arabia to Iraq: "Self-cure starts with self-realization and confession. We should then run after our terrorist sons, in the full knowledge that they are the sour grapes of a deformed culture... The mosque used to be a haven, and the voice of religion used to be that of peace and reconciliation. Religious sermons were warm behests for a moral order and an ethical life. Then came the neo-Muslims. An innocent and benevolent religion, whose verses prohibit the felling of trees in the absence of urgent necessity, that calls murder the most heinous of crimes, that says explicitly that if you kill one person you have killed humanity as a whole, has been turned into a global message of hate and a universal war cry... We cannot clear our names unless we own up to the shameful fact that terrorism has become an Islamic enterprise; an almost exclusive monopoly, implemented by Muslim men and women. We cannot redeem our extremist youth, who commit all these heinous crimes, without confronting the Sheikhs who thought it ennobling to reinvent themselves as revolutionary ideologues, sending other people's sons and daughters to certain death, while sending their own children to European and American schools and colleges.

Style still matters, for at least three reasons. First, it ensures that writers will get their message across, sparing readers from squandering their precious moments on earth deciphering opaque prose. When the effort fails, the result can be calamitous-as Strunk and White put it, "death on the highway caused by a badly worded road sign, heartbreak among lovers caused by a misplaced phrase in a well-intentioned letter, anguish of a traveler expecting to be met at a railroad station and not being met because of a slipshod telegram." Governments and corporations have found that small improvements in clarity can prevent vast amounts of error, frustration, and waste, and many countries have recently made clear language the law of the land. Second, style earns trust. If readers can see that a writer cares about consistency and accuracy in her prose, they will be reassured that the writer cares about those virtues in conduct they cannot see as easily. Here is how one technology executive explains why he rejects job applications filled with errors of grammar and punctuation: "If it takes someone more than 20 years to notice how to properly use it's, then that's not a learning curve I'm comfortable with." And if that isn't enough to get you to brush up your prose, consider the discovery of the dating site OkCupid that sloppy grammar and spelling in a profile are "huge turn-offs." As one client said, "If you're trying to date a woman, I don't expect flowery Jane Austen prose. But aren't you trying to put your best foot forward?" Style, not least, adds beauty to the world. To a literate reader, a crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase are among life's greatest pleasures. And as we shall see in the first chapter, this thoroughly impractical virtue of good writing is where the practical effort of mastering good writing must begin.

These diseases are not really there, are they? A: They can be if people choose to allow those energies to enter into their body. But for the most part, they are only in the energetic fields. And like anything else that is talked about, or thought about, it can become reality in the physical. D: Yes, if enough people accept it as their reality. A: But the diseases are extremely blown out of proportion, and they are not epidemics as they are portrayed to be. The media and the movies are showing you their desperation as they insist in presenting to the masses information that is completely negative and fear-based. Subject matter such as murder, death and betrayal, attacks and such that keep the consciousness focused on these matters, as opposed to portraying in the media images of hope and inspiration. But nevertheless, there are enough of those positive messages being broadcast at this time, that like a domino effect, they are no longer stoppable. D: Another fear the government is trying to promote is terrorism. A: Yes. It is just another tool, like the diseases, to find excuses to give people a reason to be afraid and not unify, but to trust that the government will solve their problems. They are imaginary problems, and in the subconscious, many people are becoming aware of this. They are no longer believing, although many are in the masses. But on their subconscious level, they are beginning to awaken, and the power knows this. That is the reason they are resorting to ridiculous stories that only those who wish to believe, believe in them because anybody with a logical and reasonable mind could not believe them.

The corridor dissolved, and the scene took a little longer to reform: Harry seemed to fly through shifting shapes and colors until his surroundings solidified again and he stood on a hilltop, forlorn and cold in the darkness, the wind whistling through the branches of a few leafless trees. The adult Snape was panting, turning on the spot, his wand gripped tightly in his hand, waiting for something or for someone… His fear infected Harry too, even though he knew that he could not be harmed, and he looked over his shoulder, wondering what it was that Snape was waiting for — Then a blinding, jagged jet of white light flew through the air. Harry thought of lightning, but Snape had dropped to his knees and his wand had flown out of his hand. “Don’t kill me!” “That was not my intention.” Any sound of Dumbledore Apparating had been drowned by the sound of the wind in the branches. He stood before Snape with his robes whipping around him, and his face was illuminated from below in the light cast by his wand. “Well, Severus? What message does Lord Voldemort have for me?” “No — no message — I’m here on my own account!” Snape was wringing his hands. He looked a little mad, with his straggling black hair flying around him. “I — I come with a warning — no, a request — please —” Dumbledore flicked his wand. Though leaves and branches still flew through the night air around them, silence fell on the spot where he and Snape faced each other. “What request could a Death Eater make of me?” “The — the prophecy… the prediction… Trelawney…” “Ah, yes,” said Dumbledore. “How much did you relay to Lord Voldemort?” “Everything — everything I heard!” said Snape. “That is why — it is for that reason — he thinks it means Lily Evans!” “The prophecy did not refer to a woman,” said Dumbledore. “It spoke of a boy born at the end of July —” “You know what I mean! He thinks it means her son, he is going to hunt her down — kill them all —” “If she means so much to you,” said Dumbledore, “surely Lord Voldemort will spare her? Could you not ask for mercy for the mother, in exchange for the son?” “I have — I have asked him —” “You disgust me,” said Dumbledore, and Harry had never heard so much contempt in his voice. Snape seemed to shrink a little, “You do not care, then, about the deaths of her husband and child? They can die, as long as you have what you want?” Snape said nothing, but merely looked up at Dumbledore. “Hide them all, then,” he croaked. “Keep her — them — safe. Please.” “And what will you give me in return, Severus?” “In — in return?” Snape gaped at Dumbledore, and Harry expected him to protest, but after a long moment he said, “Anything.

Anyhow, I had found something out about an unknown privation, and I realized how a general love or craving, before it is explicit or before it sees its object, manifests itself as boredom or some other kind of suffering. And what did I think of myself in relation to the great occasions, the more sizable being of these books? Why, I saw them, first of all. So suppose I wasn't created to read a great declaration, or to boss a palatinate, or send off a message to Avignon, and so on, I could see, so there nevertheless was a share for me in all that had happened. How much of a share? Why, I knew there were things that would never, because they could never, come of my reading. But this knowledge was not so different from the remote but ever-present death that sits in the corner of the loving bedroom; though it doesn't budge from the corner, you wouldn't stop your loving. Then neither would I stop my reading. I sat and read. I had no eye, ear, or interest for anything else--that is, for usual, second-order, oatmeal, mere-phenomenal, snarled-shoelace-carfare-laundry-ticket plainness, unspecified dismalness, unknown captivities; the life of despair-harness or the life of organization-habits which is meant to supplant accidents with calm abiding. Well, now, who can really expect the daily facts to go, toil or prisons to go, oatmeal and laundry tickets and the rest, and insist that all moments be raised to the greatest importance, demand that everyone breathe the pointy, star-furnished air at its highest difficulty, abolish all brick, vaultlike rooms, all dreariness, and live like prophets or gods? Why, everybody knows this triumphant life can only be periodic. So there's a schism about it, some saying only this triumphant life is real and others that only the daily facts are. For me there was no debate, and I made speed into the former.

To the ancients, bears symbolized resurrection. The creature goes to sleep for a long time, its heartbeat decreases to almost nothing. The male often impregnates the female right before hibernation, but miraculously, egg and sperm do not unite right away. They float separately in her uterine broth until much later. Near the end of hibernation, the egg and sperm unite and cell division begins, so that the cubs will be born in the spring when the mother is awakening, just in time to care for and teach her new offspring. Not only by reason of awakening from hibernation as though from death, but much more so because the she-bear awakens with new young, this creature is a profound metaphor for our lives, for return and increase coming from something that seemed deadened. The bear is associated with many huntress Goddesses: Artemis and Diana in Greece and Rome, and Muerte and Hecoteptl, mud women deities in the Latina cultures. These Goddesses bestowed upon women the power of tracking, knowing, 'digging out' the psychic aspects of all things. To the Japanese the bear is the symbol of loyalty, wisdom, and strength. In northern Japan where the Ainu tribe lives, the bear is one who can talk to God directly and bring messages back for humans. The cresent moon bear is considered a sacred being, one who was given the white mark on his throat by the Buddhist Goddess Kwan-Yin, whose emblem is the crescent moon. Kwan-Yin is the Goddess of Deep Compassion and the bear is her emissary. "In the psyche, the bear can be understood as the ability to regulate one's life, especially one's feeling life. Bearish power is the ability to move in cycles, be fully alert, or quiet down into a hibernative sleep that renews one's energy for the next cycle. The bear image teaches that it is possible to maintain a kind of pressure gauge for one's emotional life, and most especially that one can be fierce and generous at the same time. One can be reticent and valuable. One can protect one's territory, make one's boundaries clear, shake the sky if need be, yet be available, accessible, engendering all the same.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

Er Lang examined his shoes in dismay. “You should have told me there was mud down here.” “Is that all you can say?” But I was glad, so glad to see him that I hugged him tightly. Despite his concern about his shoes, he didn’t seem to mind as I pressed my grimy face against his shoulder. “Last time it was a cemetery, and now the bottom of a well,” he remarked. “What were you doing anyway?” As I explained, his tone became icy. “So, you saved a murderer and let yourself be abandoned. Do you have some sort of death wish?” “Why are you so angry?” Pushing back his hat, I searched his face. It was a mistake, for faced with his unnerving good looks, I could only drop my eyes. “You might have broken your neck. Why can’t you leave these things to the proper authorities?” “I didn’t do it on purpose.” Incredibly, we were arguing again. “And where were you all this time? You could have sent me a message!” “How was I supposed to do that when you never left the house alone?” “But you could have come at any time. I was waiting for you!” Er Lang was incensed. “Is this the thanks I get?” If I had thought it through, I would never have done it. But I grasped the collar of his rope and pulled his face to mine. “Thank you,” I said, and kissed him. I meant to break away at once, but he caught me, his hand behind my head. “Are you going to complain about this?” he demanded. Wordlessly, I shook my head. My face reddened, remembering my awkward remarks about tongues last time. He must have recalled them as well, for he gave me an inscrutable look. “Open your mouth then.” “Why?” “I’m going to put my tongue in.” That he could joke at a time like this was really unbelievable. Despite my outrage, however, I flung myself into his arms. Half laughing, half furious, I pressed my mouth fiercely against his. He pinned me against the well shaft. The stone chilled my back through my wet clothes, but my skin burned where he held my wrists. Gasping, I could feel the heat of him as his tongue slipped inside. My pulse raced; my body trembled uncontrollably. There was only the hard pressure of his mouth, the slick thrust of his tongue. I wanted to cry, but no tears came. A river was melting in me, my core dissolving like wax in his arms. My ears hummed, I could only hear the rasping of our breaths, the hammering of my heart. A stifled moan escaped my lips. He gave a long sigh and broke away.

People referred to the symbolism of the empty Cross more than once on its journey. It would seem obviously to point to our faith in Jesus’ resurrection. It’s not quite so simple though. The Cross is bare, but in and of itself the empty Cross does not point directly to the Resurrection. It says only that the body of Jesus was removed from the Cross. If a crucifix is a symbol of Good Friday, then it is the image of the empty tomb that speaks more directly of Easter and resurrection. The empty Cross is a symbol of Holy Saturday. It’s an indicator of the reality of Jesus’ death, of His sharing in our mortal coil. At the same time, the empty Cross is an implicit sign of impending resurrection, and it tells us that the Cross is not only a symbol of hatred, violence and inhumanity: it says that the Cross is about something more. The empty Cross also tells us not to jump too quickly to resurrection, as if the Resurrection were a trump card that somehow absolves us from suffering. The Resurrection is not a divine ‘get-out-of-jail free’ card that immunises people from pain, suffering or death. To jump too quickly to the Resurrection runs the risk of trivialising people’s pain and seemingly mapping out a way through suffering that reduces the reality of having to live in pain and endure it at times. For people grieving, introducing the message of the Resurrection too quickly cheapens or nullifies their sense of loss. The empty Cross reminds us that we cannot avoid suffering and death. At the same time, the empty Cross tells us that, because of Jesus’ death, the meaning of pain, suffering and our own death has changed, that these are not all-crushing or definitive. The empty Cross says that the way through to resurrection must always break in from without as something new, that it cannot be taken hold of in advance of suffering or seized as a panacea to pain. In other words, the empty Cross is a sign of hope. It tells us that the new life of God surprises us, comes at a moment we cannot expect, and reminds us that experiences of pain, grief and dying are suffused with the presence of Christ, the One Who was crucified and is now risen.

Most churches do not grow beyond the spiritual health of their leadership. Many churches have a pastor who is trying to lead people to a Savior he has yet to personally encounter. If spiritual gifting is no proof of authentic faith, then certainly a job title isn't either. You must have a clear sense of calling before you enter ministry. Being a called man is a lonely job, and many times you feel like God has abandoned you in your ministry. Ministry is more than hard. Ministry is impossible. And unless we have a fire inside our bones compelling us, we simply will not survive. Pastoral ministry is a calling, not a career. It is not a job you pursue. If you don’t think demons are real, try planting a church! You won’t get very far in advancing God’s kingdom without feeling resistance from the enemy. If I fail to spend two hours in prayer each morning, the devil gets the victory through the day. Once a month I get away for the day, once a quarter I try to get out for two days, and once a year I try to get away for a week. The purpose of these times is rest, relaxation, and solitude with God. A pastor must always be fearless before his critics and fearful before his God. Let us tremble at the thought of neglecting the sheep. Remember that when Christ judges us, he will judge us with a special degree of strictness. The only way you will endure in ministry is if you determine to do so through the prevailing power of the Holy Spirit. The unsexy reality of the pastorate is that it involves hard work—the heavy-lifting, curse-ridden, unyielding employment of your whole person for the sake of the church. Pastoral ministry requires dogged, unyielding determination, and determination can only come from one source—God himself. Passive staff members must be motivated. Erring elders and deacons must be confronted. Divisive church members must be rebuked. Nobody enjoys doing such things (if you do, you should be not be a pastor!), but they are necessary in order to have a healthy church over the long haul. If you allow passivity, laziness, and sin to fester, you will soon despise the church you pastor. From the beginning of sacred Scripture (Gen. 2:17) to the end (Rev. 21:8), the penalty for sin is death. Therefore, if we sin, we should die. But it is Jesus, the sinless one, who dies in our place for our sins. The good news of the gospel is that Jesus died to take to himself the penalty of our sin. The Bible is not Christ-centered because it is generally about Jesus. It is Christ-centered because the Bible’s primary purpose, from beginning to end, is to point us toward the life, death, and resurrection of Jesus for the salvation and sanctification of sinners. Christ-centered preaching goes much further than merely providing suggestions for how to live; it points us to the very source of life and wisdom and explains how and why we have access to him. Felt needs are set into the context of the gospel, so that the Christian message is not reduced to making us feel better about ourselves. If you do not know how sinful you are, you feel no need of salvation. Sin-exposing preaching helps people come face-to-face with their sin and their great need for a Savior. We can worship in heaven, and we can talk to God in heaven, and we can read our Bibles in heaven, but we can’t share the gospel with our lost friends in heaven. “Would your city weep if your church did not exist?” It was crystal-clear for me. Somehow, through fear or insecurity, I had let my dreams for our church shrink. I had stopped thinking about the limitless things God could do and had been distracted by my own limitations. I prayed right there that God would forgive me of my small-mindedness. I asked God to forgive my lack of faith that God could use a man like me to bring the message of the gospel through our missionary church to our lost city. I begged God to renew my heart and mind with a vision for our city that was more like Christ's.