Monument Sayings And Quotes

The Yogic sages say that all the pain of a human life is caused by words, as is all the joy. We create words to define our experience and those words bring attendant emotions that jerk us around like dogs on a leash. We get seduced by our own mantras (I'm a failure... I'm lonely... I'm a failure... I'm lonely...) and we become monuments to them. To stop talking for a while, then, is to attempt to strip away the power of words, to stop choking ourselves with words, to liberate ourselves from our suffocating mantras.

I prefer sinners and madmen, who can learn, who can change, who can teach-or people like myself, if I may say so, who are not afraid to eat a lobster alone as they take on their shoulders the monumental weight of thirty years

She never told her love, but let concealment, like a worm 'i th' bud, feed on her damask cheek. She pinned in thought; and, with a green and yellow melancholy, she sat like Patience on a monument, smiling at grief. Was not this love indeed? We men may say more, swear more; but indeed our shows are more than will; for we still prove much in our vows but little in our love.

Let me tell you what you feel like when you know you are ready to die. You sleep a lot, and when you wake up the very first thought in your head is that you wish you could go back to bed. You go entire days without eating, because food is a commodity that keeps you here. You read the same page a hundred times. You rewind your life like a videocassette and see the things that make you weep, things that make you pause, but nothing that makes you want to play it forward. You forget to comb your hair, to shower, to dress. And then one day, when you make the decision that you have enough energy left in you to do this one, last, monumental thing, there comes a peace. Suddenly you are counting moments as you haven’t for months. Suddenly you have a secret that makes you smile, that makes people say you look wonderful, although you feel like a shell-brittle and capable of cracking into a thousand pieces.

...we should be remembered for the things we do. The things we do are the most important things of all. They are more important than what we say or what we look like. The things we do outlast our mortality. The things we do are like monuments that people build to honour heroes after they've died. They're like the pyramids that the Egyptians built to honour the Pharaohs. Only instead of being made out of stone, they're made out of the memories people have of you. That's why your deeds are like your monuments. Built with memories instead of with stone.

I look at the Augusteum,and I think that perhaps my life has not actually been so chaotic, after all. It is merely this world that is chaotic, bringing changes to us all that nobody could have anticipated. The Augusteum warns me to not to get attached to any obsolete ideas about who I am, what I represent, whom I belong to, or what function I may once have intended to serve. Yesterday I might have been a glorious monument to somebody, true enough--but tomorrow I could be a fireworks depository. Even in the Eternal City, says the silent Augusteum, one must always be prepared for riotous and endless waves of transformation.

Who am I? And how I wonder, will this story end? . . . My life? It is'nt easy to explain. It has not been the rip-roaring spectacular I fancied it woulf be, but neither have I burrowed around with the gophers. i suppose it has most resembled a bluechip stock: fairly stable, more ups and downs, and gradually tending over time. A good buy, a lucky buy, and I've learned that not everyone can say this about his life. But do not be misled. I am nothing special; of this I am sure. I am common man with common thought and I've led a common life. There are no monuments dedicated to me, and my name will soon be forgotten, but I've loved another with all my heart and soul, and to me, this has always been enough. The romantics would call this a love story, the cynics would call it a tragedy. In my mind, it's a little bit of both, and no matter how you choose to view it in the end, it does not change the fact that involves a great deal of my life and the path I've chosen to follow. I have no complaints about the places it has taken me, enough complaints to fill a circus tent about other thins, maybe, but the path I've chosen has always been the right one, and I would'nt have had it any other way. Time, unfortunatley, does'nt make it easy to stay on course. The path is straight as ever, but now it is strewn with the rocks and gravel that accumulated over a lifetime . . . There is always a moment right before I begin to read the story when my mind churns, and I wonder, will it happen today? I don't know, for I never know beforehand, and deep down it really doesn't matter. It's the possibility that keeps me going, not the guarantee, a sort of wager on my part. And though you may call me a dreamer or a fool or any other thing, I believe that anything is possible. I realize that odds, and science, are againts me. But science is not the answer; this I know, this I have learned in my lifetime. And that leaves me with the belief that miracles, no matter how inexplicable or unbelievable, are real and can occur without regard to the natural order of things. So once again, just as I do ecery day, I begin to read the notebook aloud, so that she can hear it, in the hope that the miracle, that has come to dominate my life will once again prevail. And maybe, just maybe, it will.

Obelisk?” “It’s my favorite word.” “Really?” “One of them, at least. Look at it.” I look. “That is one straight-up, upstanding, powerful word. Unique, original, and kind of stealthy because it doesn’t really sound like what it is. It’s a word that surprises you and makes you think, Oh. All right then. It commands respect, but it’s also modest. Not like ‘monument’ or ‘tower.’ ” He shakes his head. “Pretentious bastards.” I don’t say anything because I used to love words. I loved them and was good at arranging them. Because of this, I felt protective of all the best ones. But now all of them, good and bad, frustrate me.

And the wind shall say: 'Here were decent Godless people: Their only monument the asphalt road And a thousand lost golf balls.

...In another time, What cannot be seen will define us, and we shall be prompted To say that language is error, and all things are wronged By representation. The self, we shall say, can never be Seen with a disguise, and never be seen without one.

I find that a real gardener is not a man who cultivates flowers; he is a man who cultivates the soil. He is a creature who digs himself into the earth and leaves the sight of what is on it to us gaping good-for-nothings. He lives buried in the ground. He builds his monument in a heap of compost. If he came into the Garden of Eden, he would sniff excitedly and say: "Good Lord, what humus!

Women's liberation is one thing, but the permeation of anti-male sentiment in post-modern popular culture - from our mocking sitcom plots to degrading commercial story lines - stands testament to the ignorance of society. Fair or not, as the lead gender that never requested such a role, the historical male reputation is quite balanced. For all of their perceived wrongs, over centuries they've moved entire civilizations forward, nurtured the human quest for discovery and industry, and led humankind from inconvenient darkness to convenient modernity. Navigating the chessboard that is human existence is quite a feat, yet one rarely acknowledged in modern academia or media. And yet for those monumental achievements, I love and admire the balanced creation that is man for all his strengths and weaknesses, his gifts and his curses. I would venture to say that most wise women do.

My nose is Gargantuan! You little Pig-snout, you tiny Monkey-Nostrils, you virtually invisible Pekinese-Puss, don't you realize that a nose like mine is both scepter and orb, a monument to me superiority? A great nose is the banner of a great man, a generous heart, a towering spirit, an expansive soul--such as I unmistakably am, and such as you dare not to dream of being, with your bilious weasel's eyes and no nose to keep them apart! With your face as lacking in all distinction--as lacking, I say, in interest, as lacking in pride, in imagination, in honesty, in lyricism--in a word, as lacking in nose as that other offensively bland expanse at the opposite end of your cringing spine--which I now remove from my sight by stringent application of my boot!

This precept means that we should be remembered for the things we do. The things we do are the most important things of all. They are more important than what we say or what we look like. The things we do outlast our mortality. The things we do are like monuments that people build to honor heroes after they’ve died. They’re like the pyramids that the Egyptians built to honor the pharaohs. Only instead of being made out of stone, they’re made out of the memories people have of you. That’s why your deeds are like your monuments. Built with memories instead of with stone.

You were once my one companion, You were all that mattered. You were once a friend and father, Then my world was shattered. Wishing you were somehow here again, Wishing you were somehow near. Sometimes it seemed if I just dreamed, Somehow you would be here. Wishing I could hear your voice again, Knowing that I never would Dreaming of you won’t help me to do All that you dreamed I could Passing bells and sculpted angels Cold and monumental Seem for you the wrong companions You were warm and gentle Too many years fighting back tears Why cant the past just die Wishing you were somehow here again Knowing we must say goodbye Try to forgive Teach me to live Give me the strength to try No more memories No more silent tears No more gazing across the wasted years Help me say goodbye Help me say goodbye

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.

They strike one, above all, as giving no account of themselves in any terms already consecrated by human use; to this inarticulate state they probably form, collectively, the most unprecedented of monuments; abysmal the mystery of what they think, what they feel, what they want, what they suppose themselves to be saying.

Or powerful objects, such as statues, amulets, monuments, certain models of cars. But they prefer human form. You see gods have great power, but only humans have creativity, the power to change history rather than simply repeat it. Humans can...how do you moderns say it...think outside the cup.” “The box,” I suggested.

Until that moment, I hadn’t realized that I embarked on the project of touring historic sites and monuments having to do with the assassinations of Lincoln, Garfield, and McKinley right around the time my country iffily went off to war, which is to say right around the time my resentment of the current president cranked up into contempt. Not that I want the current president killed. Like that director, I will, for the record (and for the FBI agent assigned to read this and make sure I mean no harm – hello there), clearly state that while I am obsessed with death, I am against it.

The things we do are the most important things of all. They are more important than what we say or what we look like. The things we do outlast our mortality. The things we do are like monuments that people build to honor heroes after they’ve died. They’re like the pyramids that the Egyptians built to honor the pharaohs. Only instead of being made out of stone, they’re made out of the memories people have of you. That’s why your deeds are like your monuments. Built with memories instead of with stone.

They say that in D.C., all the museums and the monuments have been concessioned out and turned into a tourist park that now generates about 10 percent of the Government's revenue. The Feds could run the concession themselves and probably keep more of the gross, but that's not the point. It's a philosophical thing. A back-to-basics thing. Government should govern. It's not in the entertainment industry, is it? Leave entertaining to Industry weirdos -- people who majored in tap dancing. Feds aren't like that. Feds are serious people. Poli-sci majors. Student council presidents. Debate club chairpersons. The kinds of people who have the grit to wear a dark wool suit and a tightly buttoned collar even when the temperature has greenhoused up to a hundred and ten degrees and the humidity is thick enough to stall a jumbo jet. The kinds of people who feel most at home on the dark side of a one-way mirror.

No Self stands alone. Behind it stretches an immense chain of physical and - as a special class within the whole - mental events, to which it belongs as a reacting member and which it carries on. Through the condition at any moment of its somatic, especially its cerebral system, and through education, and tradition, by word, by writing, by monument, by manners, by a way of life, by a newly shaped environment... by so much that a thousand words would not exhaust it, by all that, I say, the Self is not so much linked with what happened to its ancestors, it is not so much the product, and merely the product, of all that, but rather, in the strictest sense of the word, the SAME THING as all that: the strict, direct continuation of it, just as the Self aged fifty is the continuation of the Self aged forty.

One gives way to the temptation, only to rise from it again, afterwards, with a great eagerness to reestablish one's dignity, as if it were a tombstone to place on the grave of one's shame, and a monument to hide and sign the memory of our weaknesses. Everybody's in the same case. Some folks haven't the courage to say certain things, that's all! THE STEP-DAUGHTER: All appear to have the courage to do them though.

The soul of Dallas is located at the Tomb of the Unknown Shopper, a monument that has not yet been built, but it will be as soon as Dallas acquires a municipal sense of humor.

I've been here in Richmond for six years and I still don't get it. To me, having the principal Richmond monuments dedicated to the Lost Cause is like saying we're dedicated to no hope, no future. It's like having a monument to unrequited love.

I want to see monuments to the victims of lynching instead of monuments to the lynchers. I was to see stories by Black people, not stories about us, and I believe it's imperative that Black creators approach those stories with a keen awareness that it's not just Black people watching.

Farber says (in my recollection, anyway) the European (or classical) art, including film, is culturally assumed to be a monumental slab. It's about that slab, and how it's been shaped, or what's been carved on it. In "termite art" though, your slab has been wormholed countless times, and its meaning is really taking place in the resulting interstices. The actual art of the piece, in other words, and your enjoyment of it, is taking place in the cracks, and the shape of the slab is coincidental and ultimately meaningless.

Well… maybe so. This may be the year when we finally come face to face with ourselves; finally just lay back and say it—that we are really just a nation of 220 million used car salesmen with all the money we need to buy guns, and no qualms at all about killing anybody else in the world who tries to make us uncomfortable. The tragedy of all this is that George McGovern, for all his mistakes and all his imprecise talk about “new politics” and “honesty in government,” is one of the few men who’ve run for President of the United States in this century who really understands what a fantastic monument to all the best instincts of the human race this country might have been, if we could have kept it out of the hands of greedy little hustlers like Richard Nixon. McGovern made some stupid mistakes, but in context they seem almost frivolous compared to the things Richard Nixon does every day of his life, on purpose, as a matter of policy and a perfect expression of everything he stands for. Jesus! Where will it end? How low do you have to stoop in this country to be President?

The Augusteum warns me not to get attached to any obsolete ideas about who I am, what I represent, whom I belong tom or what function I may once have intended to serve. Yesterday I might have been a glorious monument to somebody, true enough- but tomorrow I could be a fireworks depository. Even in the Eternal City, says the silent Augusteum, one must always be prepared for riotous and endless waves of transformation.

Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.

I just want the days of my life to add up to something. The way every day of your life, the way it can just disappear in front of the television, Denny says he wants a rock to show for each day. Something tangible. Just one thing. A little monument to mark the end of each day.

It is the noble races that have left behind them the concept 'barbarian' wherever they have gone; even their highest culture betrays a consciousness of it and even a pride in it (for example, when Pericles says to the Athenians in his famous funeral oration 'our boldness has gained access to every land and sea, everywhere raising imperishable monuments to its goodness and wickedness"). This 'boldness' of noble races, mad, absurd, and sudden in its expression, the incalculability, even incredibility of their undertakings—Pericles specially commends the rhathymia of the Athenians—their indifference to and contempt for security, body, life, comfort, their hair-raising cheerfulness and profound joy in all destruction, in all the voluptuousness of victory and cruelty—all this came together, in the minds of those who suffered from it, in the image of the 'barbarian,' the 'evil enemy,' perhaps as the 'Goths,' the 'Vandals.

This was where Zoya had been seen sneaking off to all those nights—not to a lover, but to this monument to grief. This was where she had shed her tears, away from curious eyes, where no one could see her armor fall. And here, the Grisha might live forever, every friend lost, every soldier gone. “I know what I did is unforgivable,” she said. Nikolai blinked, confused. “No doubt you deserve to be punished for your crimes … but for what precisely?” She cast him a baleful look. “I lost our most valuable prisoner. I’ve allowed our most deadly enemy to regain his powers and … run amok.” “‘Amok’ seems an overstatement. Wild, perhaps.” “Don’t pretend to shrug this off. You’ve barely looked at me since I returned.” Because I am greedy for the sight of you. Because the prospect of facing this war, this loss, without you fills me with fear. Because I find I don’t want to fight for a future if I can’t find a way to make a future with you. But he was a king and she was his general and he could say none of those things.

My past has its space, its paths, its nameplaces, and its monuments. Beneath the crossed but distinct orders of succession and simultaneity, beneath the train of synchronizations added onto line by line, we find a nameless network--constellations of spatial hours, of point-events. Should we even say 'thing,' should we say 'imaginary' or 'idea,' when each thing exists beyond itself, when each fact can be a dimension, when ideas have their regions? The whole description of our landscape and the lines of our universe, and of our inner monologue, needs to be redone. Colors, sounds, and things--like Van Gogh's stars--are the focal points and radiance of being.

The great anxious focus on the minutiae of appetite—on calories and portion size and what's going into the body versus what's being expended, on shoes and hair and abs of steel—keeps the larger, more fearsome questions of desire blurred and out of focus. American women spend approximately $1 million every hour on cosmetics. This may or may not say something about female vanity, but it certainly says something about female energy, where it is and is not focused. Easier to worry about the body than the soul, easier to fit the self into the narrow slots of identity our culture offers to women than to create one...that allows for the expression of all passions, the satisfaction of all appetites. The great preoccupation with things like food and shopping and appearance, in turn, is less of a genuine focus on hunger—indulging it, understanding it, making decisions about it—than it is a monumental distraction from hunger.

She opens her eyes, says: Stop lying. She says she hopes she'll never know anything, anything in the world, the way you do. She says: I don't want to know anything the way you do, with that death-derived certainty, that hopeless monotony, the same every day of your life, every night, and that deadly routine of lovelessness. She says: It's day, everything is about to begin, except you, you never begin. She goes back to sleep. You ask her why she sleeps, what weariness she has to rest from, what monumental weariness.

I wonder where the dreams go that I don't remember. I do not know what to do with my hands when they have nothing to do. Even though it's not for me, I turn around when someone whistles in the street. Dangerous animals do not scare me. I have seen lightening. I wish they had slides for grown-ups. I have read more volumes one than volumes two. The date on my birth certificate is wrong. I am not sure I have any influence. I talk to my things when they're sad. I don't know why I write. I prefer a ruin to a monument. I am calm during reunions. I have nothing against New Year's Eve. Fifteen years old is the middle of my life, regardless of when I die. I believe there is an afterlife, but not an afterdeath. I do not ask "do you love me". Only once can I say "I'm dying" without telling a lie. The best day of my life may already be behind me.

You see that stones are worn away by time, Rocks rot, and twoers topple, even the shrines And images of the gods grow very tired, Develop crack or wrinkles, their holy wills Unable to extend their fated term, To litigate against the Laws of Nature. And don't we see the monuments of men Collapse, as if to ask us, "Are not we As frail as those whom we commemorate?"? Boulders come plunging down from the mountain heights, Poor weaklings with no power to resist The thrust that says to them, Your time has come! But they would be rooted in steadfastness Had they endured from time beyond all time, As far back as infinity. Look about you! Whatever it is that holds in its embrace All earth, if it projects, as some men say, All things out of itself, and takes them back When they have perished, must itself consist Of mortal elements. The parts must add Up to the sum. Whatever gives away Must lose in the procedure, and gain again Whenever it takes back.

And I was alone, had been for a while, and might be for a while, but it no longer frightened me the way it had. I was discovering something terrifyingly simple: there was absolutely nothing I could do about it. I was discovering this in the way, I suppose, that everybody does, but having tried, endlessly, to do something about it. You attach yourself to someone, or you allow someone to attach themselves to you. This person is not for you, and you, really, are not for that person--and that's it, son. But you try, you both try. The only result of all your trying is to make absolutely real the unconquerable distance between you: to dramatize, in a million ways, the absolutely unalterable truth of this distance. Side by side, and hand in hand, your sunsets, nevertheless are not occurring in the same universe. It is not merely that the rain falls differently on each of you, for that can be a wonder and a joy: it is that what is rain for the one is not rain for the other. Your elements will not mix, unless one agrees that the elements be pulverized--and the result of that is worse than being alone. The result of that is to become one of the living dead. The most dreadful people I have ever known are those who have been "saved," as they claim, by Christ--they could not possibly be more deluded--those for whom the heavenly telephone is endlessly ringing, always with disastrous messages for everybody else. Or those people who have been cured by their psychiatrists, a cure which has rendered them a little less exciting than oatmeal. I prefer sinners and madmen, who can learn, who can change, who can teach--or people like myself, if I may say so, who are not afraid to eat a lobster alone as they take on their shoulders the monumental weight of thirty years.

I just want the days of my life to add up to something. The way every day of your life, the way it can just disappear in front of the television, Denny says he wants a rock to show for each day. Something tangible. Just one thing. A little monument to mark the end of each day... "Tombstone" isn't the right word, but it's the first word that comes to mind.

He says, "It's just a hat." But it's not just a hat. It makes Jess think of racism and hatred and systemic inequality, and the Ku Klux Klan, and plantation-wedding Pinterest boards, and lynchings, and George Zimmerman, and the Central Park Five, and redlining, and gerrymandering and the Southern strategy, and decades of propaganda and Fox News and conservative radio, and rabid evangelicals, and rape and pillage and plunder and plutocracy and money in politics and the dumbing down of civil discourse and domestic terrorism and white nationalists and school shootings and the growing fear of a nonwhite, non-English-speaking majority and the slow death of the social safety net and conspiracy theory culture and the white working class and social atomism and reality television and fake news and the prison-industrial complex and celebrity culture and the girl in fourth grade who told Jess that since she--Jess--was "naturally unclean" she couldn't come over for birthday cake, and executive compensation, and mediocre white men, and the guy in college who sent around an article about how people who listen to Radiohead are smarter than people who listen to Missy Elliott and when Jess said "That's racist" he said "No,it's not," and of bigotry and small pox blankets and gross guys grabbing your butt on the subway, and slave auctions and Confederate monuments and Jim Crow and fire hoses and separate but equal and racist jokes that aren't funny and internet trolls and incels and golf courses that ban women and voter suppression and police brutality and crony capitalism and corporate corruption and innocent children, so many innocent children, and the Tea Party and Sarah Palin and birthers and flat-earthers and states' rights and disgusting porn and the prosperity gospel and the drunk football fans who made monkey sounds at Jess outside Memorial Stadium, even though it was her thirteenth birthday, and Josh--now it makes her think of Josh.

The things we do are the most important things of all. They are more important than what we say or what we look like. The things we do outlast our mortality. The things we do are like monuments that people build to honor heroes after they’ve died.

No one knows for sure what the Mayan pyramids are for-navigation and chronography, some say, like Stonehenge-but we know damn well what the Egyptian pyramids were and are . . . great monuments to death, the world's biggest gravestones. Here Lies Ramses II, He Was Obedient . . .

Paris presents itself to the flâneur as the realm of the possible, the ideal place in which all experiences are theoretically achievable. In exploring a city, some prefer to follow a maniacal scheme, visiting roads or monuments in alphabetical order, moving around with a compass or with a pedometer. Others love to follow in a prosaic manner the instructions of tourist guides, or the suggestions they have heard from friends or acquaintances. Nevertheless, although it may appear paradoxical, in order to acquire a profound view of things, you must first of all move randomly. This is the founding dogma and, I would dare say, the “gnoseological principle” of flânerie. The flâneur moves through the city with neither a map nor a plan. He has to feel himself to be free and alone, ready and willing for the imponderable. The attitude of the true flâneur consists of not establishing a hierarchy between what most people consider important and what instead, normally, is not of any interest to anyone

We got to the moment when I wake up from being "mostly dead" and say: "I'll beat you both apart! I'll take you both together!", Fezzik cups my mouth with his hand, and answers his own question to Inigo as to how long it might be before Miracle Max's pill begins to take effect by stating: "I guess not very long." As soon as he delivered that line, there issued forth from Andre' one of the most monumental farts any of us had ever heard. Now I suppose you wouldn't expect a man of Andre's proportions to pass gas quietly or unobtrusively, but this particular one was truly epic, a veritable symphony of gastric distress that roared for more than several seconds and shook the very foundations of the wood and plaster set were now grabbing on to out of sheer fear. It was long enough and loud enough that every member of the crew had time to stop what they were doing and take notice. All I can say is that it was a wind that could have held up in comparison to the one Slim Pickens emitted int eh campfire scene in Mel Brooks's Blazing Saddles, widely acknowledged as the champion of all cinematic farts. Except of course, this one wasn't in the script.

Perhaps it goes without saying that I believe in the geographic cure. Of course you can't out-travel sadness. You will find it has smuggled itself along in your suitcase. It coats the camera lens, it flavors the local cuisine. In that different sunlight, it stands out, awkward, yours, honking in the brash vowels of your native tongue in otherwise quiet restaurants. You may even feel proud of its stubbornness as it follows you up the bell towers and monuments, as it pants in your ear while you take in the view. I travel not to get away from my troubles but to see how they look in front of famous buildings or on deserted beaches. I take them for walks. Sometimes I get them drunk. Back at home we generally understand each other better.

When the Nazis took Paris, the director of the Toledo Museum of Art wrote to David Finley, director of the not yet opened National Gallery of Art in Washington, D.C., to encourage the creation of a national plan, saying, “I know [the possibility of invasion] is remote at the moment, but it was once remote in France.

Sometimes I wish we’d met when we were twenty-seven. Twenty-seven sounds like a good age to meet the person you’re going to spend the rest of your life with. At twenty-seven, you are still young, but hopefully you are well on your way to being the you you want to be. But then I think, no, I wouldn’t give up twelve, thirteen, sixteen, seventeen with Peter for the world. My first kiss, my first fake boyfriend, my first real boyfriend. The first boy who ever bought me a piece of jewelry. Stormy would say that that is the most monumental moment of all. She told me that that’s how a boy lets you know that you’re his. I think for us it was the opposite. It’s how I knew he was mine.

know it sounds it. But you’re not supposed to ‘get over’ someone dying,” he says, “especially someone you loved, and your feelings of guilt may not be justified, but they are natural. Thing is, you don’t ever go back, Maddie, to life before, and my advice is to accept that. To accept that you’re not the same person you were when your dad was alive and you can’t be again. Accept that your life is different now because of this monumental, irreversible change and that it’s okay to feel guilty one day and indescribable happiness another.

Reading. The erotics of reading for me -- its moment of trembling pleasure -- lie in those times when I realise that what I am reading is just what I was about to say. It is a moment of jealousy and disappointment, as if the occasion had been stolen from me, but it is a moment of excitement, too -- because I think I would like to try and say it better, because now the monologue in my mind has become dialogue. My immediate impulse is to write something, anything, notes to tell me the significance of what I have read, an appreciative letter to the author, the first sentences in a preface to a book that will never be written. Th archives of my readings are monumentally high. I can never let these erotic moments go. They are the paper trail of my mind.

this is the moment. This is the moment of Lydia’s crossing. Here at the back of this cave somewhere in the Tumacacori Mountains, Lydia sheds the violent skin of everything that’s happened to her. It rolls down from her tingling scalp off the mantle of her shoulders and down the length of her body. She breathes it out. She spits it into the dirt. Javier. Marta. Everything. Her entire life before this moment. Every person she loved who is gone. Her monumental regret. She will leave it here. She stands at Lorenzo’s feet. She turns away from him. “I forgive you,” she says.

I had recently read to my dismay that they have started hunting moose again in New England. Goodness knows why anyone would want to shoot an animal as harmless and retiring as the moose, but thousands of people do—so many, in fact, that states now hold lotteries to decide who gets a permit. Maine in 1996 received 82,000 applications for just 1,500 permits. Over 12,000 outof-staters happily parted with a nonrefundable $20 just to be allowed to take part in the draw. Hunters will tell you that a moose is a wily and ferocious forest creature. Nonsense. A moose is a cow drawn by a three-year-old. That’s all there is to it. Without doubt, the moose is the most improbable, endearingly hopeless creature ever to live in the wilds. Every bit of it—its spindly legs, its chronically puzzled expression, its comical oven-mitt antlers—looks like some droll evolutionary joke. It is wondrously ungainly: it runs as if its legs have never been introduced to each other. Above all, what distinguishes the moose is its almost boundless lack of intelligence. If you are driving down a highway and a moose steps from the woods ahead of you, he will stare at you for a long minute (moose are notoriously shortsighted), then abruptly try to run away from you, legs flailing in eight directions at once. Never mind that there are several thousand square miles of forest on either side of the highway. The moose does not think of this. Clueless as to what exactly is going on, he runs halfway to New Brunswick before his peculiar gait inadvertently steers him back into the woods, where he immediately stops and takes on a startled expression that says, “Hey—woods. Now how the heck did I get here?” Moose are so monumentally muddle-headed, in fact, that when they hear a car or truck approaching they will often bolt out of the woods and onto the highway in the curious hope that this will bring them to safety. Amazingly, given the moose’s lack of cunning and peculiarly-blunted survival instincts, it is one of the longest-surviving creatures in North America. Mastodons, saber-toothed tigers, wolves, caribou, wild horses, and even camels all once thrived in eastern North America alongside the moose but gradually stumbled into extinction, while the moose just plodded on. It hasn’t always been so. At the turn of this century, it was estimated that there were no more than a dozen moose in New Hampshire and probably none at all in Vermont. Today New Hampshire has an estimated 5,000 moose, Vermont 1,000, and Maine anywhere up to 30,000. It is because of these robust and growing numbers that hunting has been reintroduced as a way of keeping them from getting out of hand. There are, however, two problems with this that I can think of. First, the numbers are really just guesses. Moose clearly don’t line up for censuses. Some naturalists think the population may have been overstated by as much as 20 percent, which means that the moose aren’t being so much culled as slaughtered. No less pertinent is that there is just something deeply and unquestionably wrong about killing an animal that is so sweetly and dopily unassuming as a moose. I could have slain this one with a slingshot, with a rock or stick—with a folded newspaper, I’d almost bet—and all it wanted was a drink of water. You might as well hunt cows.

Abraham Lincoln was not, in the fullest sense of the word, either our man or our model. In his interests, in his associations, in his habits of thought, and in his prejudices, he was a white man. [...] Any man can say things that are true of Abraham Lincoln, but no man can say anything that is new of Abraham Lincoln. His personal traits and public acts are better known to the American people than are those of any other man of his age. He was a mystery to no man who saw him and heard him. Though high in position, the humblest could approach him and feel at home in his presence. Though deep, he was transparent; though strong, he was gentle; though decided and pronounced in his convictions, he was tolerant towards those who differed from him, and patient under reproaches. [...] I have said that President Lincoln was a white man, and shared the prejudices common to his countrymen towards the colored race. Looking back to his times and to the condition of his country, we are compelled to admit that this unfriendly feeling on his part may be safely set down as one element of his wonderful success in organizing the loyal American people for the tremendous conflict before them, and bringing them safely through that conflict. His great mission was to accomplish two things: first, to save his country from dismemberment and ruin; and, second, to free his country from the great crime of slavery. To do one or the other, or both, he must have the earnest sympathy and the powerful cooperation of his loyal fellow-countrymen. Without this primary and essential condition to success his efforts must have been vain and utterly fruitless.[...] Viewed from the genuine abolition ground, Mr. Lincoln seemed tardy, cold, dull, and indifferent; but measuring him by the sentiment of his country, a sentiment he was bound as a statesman to consult, he was swift, zealous, radical, and determined. Oration in Memory of Abraham Lincoln. Delivered at the Unveiling of The Freedmen’s Monument in Lincoln Park, Washington, D.C.

All of Man’s works, all his cities, all his empires, all his monuments will one day crumble to dust. Even the houses of my own dear readers must – though it be for just one day, one hour – be ruined and become houses where the stones are mortared with moonlight, windowed with starlight and furnished with the dusty wind. It is said that in that day, in that hour, our houses become the possessions of the Raven King. Though we bewail the end of English magic and say it is long gone from us and inquire of each other how it was possible that we came to lose something so precious, let us not forget that it also waits for us at England’s end and one day we will no more be able to escape the Raven King than, in this present Age, we can bring him back.” The History and Practice of English Magic by Jonathan Strange, pub. John Murray, London, 1816.

Smoke a bowl and you can do this for hours,” one of the guys says. “Just kidding. No drugs in the major leagues.” As we cut the clay, there are no bowls to smoke—though according to one sod farm worker, weed goes well with anything turf-related: “You can’t be a grass man and not be a grass man,” he says—but there is an easy intimacy among the crew, a kind of in-this-together camaraderie, and for a few minutes I feel like one of them, too.

He didn't want to puff her up. Puffed-up women are one of the original sources of trouble in the world. If anyone knew that, it was he. He counted it as one of his duties to mankind to keep women from puffing themselves up, though it had been a most monumental duty in his own marriage. A job requiring a hero. It was one of those things that God, being male, questioned you about before you were let into heaven, and he was proud to say that he hadn't neglected it.

tailgating is a local tradition that both predates Lambeau Field and dovetails seamlessly with another beloved Green Bay pastime: drinking. Even Prohibition couldn’t slow the town’s taps. “There were speakeasies all over,” says the historian. “I was told once that one of the reasons the mob never moved in here was because it was so wide open. They couldn’t get a foothold. It was just generally accepted that Green Bay wasn’t going to obey the Eighteenth Amendment.

The Wampanoag, in ways which are not plain to me, in concert decided upon their own observance of father’s passing. They marked it in a most singular manner. As soon as father’s loss became known to them, each one, when traveling up or down the island, would fetch from the shore a smooth white stone such as can oft be found there. These they carried until they passed the place where father had taken farewell of them. There they deposited them. Within days, there was a cairn. In the weeks that followed, you could say, a monument, each stone of it placed with the care of an artisan. The last I saw, it had grown higher than a man, and still the Wampanoag came, one by one, placing a stone upon a stone.

I think of the beauty in the obvious, the way it forces us to admit how it exists, the way it insists on being pointed out like a bloody nose, or how every time it snows there is always someone around to say, “It’s snowing.” But the obvious isn’t showing off, it’s only reminding us that time passes, and that somewhere along the way we grow up. Not perfect, but up and out. It teaches us something about time, that we are all ticking and tocking, walking the fine line between days and weeks, as if each second speaks of years, and each month has years listening to forever but never hearing anything beyond centuries swallowed up by millenniums, as if time was calculating the sums needed to fill the empty belly of eternity. We so seldom understand each other. But if understanding is neither here nor there, and the universe is infinite, then understand that no matter where we go, we will always be smack dab in the middle of nowhere. All we can do is share some piece of ourselves and hope that it’s remembered. Hope that we meant something to someone. My chest is a cannon that I have used to take aim and shoot my heart upon this world. I love the way an uncurled fist becomes a hand again, because when I take notes, I need it to underline the important parts of you: happy, sad, lovely. Battle cry ballistic like a disaster or a lipstick earthquaking and taking out the monuments of all my hollow yesterdays. We’ll always have the obvious. It reminds us who, and where we are, it lives like a heart shape, like a jar that we hand to others and ask, “Can you open this for me?” We always get the same answer: “Not without breaking it.” More often than sometimes, I say go for it.

When Hillary Clinton’s book What Happened came out, I learned she’d quoted my final paragraph: On nights when you feel alone, I am with you . . . Then she wrote: Early on the morning of November 9, when it came time to decide on what I’d say in my concession speech, I remembered those words. Inspired by them, I wrote these: “To all the little girls watching this, never doubt that you are valuable and powerful and deserving of every chance and opportunity in the world to pursue and achieve your own dreams.” Wherever she is, I hope Emily Doe knows how much her words and her strength meant to so many. At a moment of monumental loss, she had consulted the statement for hope. She had returned to my darkest place to light the way forward. 13.

October" I remember how I would say, “I will gather These pieces together, Any minute now I will make A knife out of a cloud.” Even then the days Went leaving their wounds behind them, But, “Monument,” I kept saying to the grave, “I am still your legend.” There was another time When our hands met and the clocks struck And we lived on the point of a needle, like angels. I have seen the spider’s triumph In the palm of my hand. Above My grave, that thoroughfare, There are words now that can bring My eyes to my feet, tamed. Beyond the trees wearing names that are not their own The paths are growing like smoke. The promises have gone, Gone, gone, and they were here just now. There is the sky where they laid their fish. Soon it will be evening.

If you could design a new structure for Camp Half-Blood what would it be? Annabeth: I’m glad you asked. We seriously need a temple. Here we are, children of the Greek gods, and we don’t even have a monument to our parents. I’d put it on the hill just south of Half-Blood Hill, and I’d design it so that every morning the rising sun would shine through its windows and make a different god’s emblem on the floor: like one day an eagle, the next an owl. It would have statues for all the gods, of course, and golden braziers for burnt offerings. I’d design it with perfect acoustics, like Carnegie Hall, so we could have lyre and reed pipe concerts there. I could go on and on, but you probably get the idea. Chiron says we’d have to sell four million truckloads of strawberries to pay for a project like that, but I think it would be worth it. Aside from your mom, who do you think is the wisest god or goddess on the Olympian Council? Annabeth: Wow, let me think . . . um. The thing is, the Olympians aren’t exactly known for wisdom, and I mean that with the greatest possible respect. Zeus is wise in his own way. I mean he’s kept the family together for four thousand years, and that’s not easy. Hermes is clever. He even fooled Apollo once by stealing his cattle, and Apollo is no slouch. I’ve always admired Artemis, too. She doesn’t compromise her beliefs. She just does her own thing and doesn’t spend a lot of time arguing with the other gods on the council. She spends more time in the mortal world than most gods, too, so she understands what’s going on. She doesn’t understand guys, though. I guess nobody’s perfect. Of all your Camp Half-Blood friends, who would you most like to have with you in battle? Annabeth: Oh, Percy. No contest. I mean, sure he can be annoying, but he’s dependable. He’s brave and he’s a good fighter. Normally, as long as I’m telling him what to do, he wins in a fight. You’ve been known to call Percy “Seaweed Brain” from time to time. What’s his most annoying quality? Annabeth: Well, I don’t call him that because he’s so bright, do I? I mean he’s not dumb. He’s actually pretty intelligent, but he acts so dumb sometimes. I wonder if he does it just to annoy me. The guy has a lot going for him. He’s courageous. He’s got a sense of humor. He’s good-looking, but don’t you dare tell him I said that. Where was I? Oh yeah, so he’s got a lot going for him, but he’s so . . . obtuse. That’s the word. I mean he doesn’t see really obvious stuff, like the way people feel, even when you’re giving him hints, and being totally blatant. What? No, I’m not talking about anyone or anything in particular! I’m just making a general statement. Why does everyone always think . . . agh! Forget it. Interview with GROVER UNDERWOOD, Satyr What’s your favorite song to play on the reed pipes?

This is the moment of Lydia's crossing. Here at the back of this cave somewhere in the Tumacacori Mountains, Lydia sheds the violent skin of everything that's happened to her. It rolls down from her tingling scalp off the mantle of her shoulders and down the length of her body. She breathes it out. She spits it into the dirt. Javier. Marta. Everything. Her entire life before this moment. Every person she loved who is gone. Her monumental regret. She will leave it here. She stands at Lorenzo's feet. She turns away from him. 'I forgive you,' she says.

Everything we know of horror and dread is connected primarily with war. Stalin's Gulags and Auschwitz were recent gains for evil. History has always been the story of wars and military commanders, and war was, we could say, the yardstick of horror. This is why people muddle the concepts of war and disaster. In Chernobyl, we see all the hallmarks of war: hordes of soldiers, evacuation, abandoned houses. The course of life disrupted. Reports on Chernobyl in the newspapers are thick with the language of war: 'nuclear', 'explosion', 'heroes'. And this makes it harder to appreciate that we now find ourselves on a new page of history. The history of disasters has begun. But people do not want to reflect on that, because they have never thought about it before, preferring to take refuge in the familiar. And in the past. Even the monuments to the Chernobyl heroes look like war memorials.

Baudelaire" When I fall asleep, and even during sleep, I hear, quite distinctly, voices speaking Whole phrases, commonplace and trivial, Having no relation to my affairs. Dear Mother, is any time left to us In which to be happy? My debts are immense. My bank account is subject to the court’s judgment. I know nothing. I cannot know anything. I have lost the ability to make an effort. But now as before my love for you increases. You are always armed to stone me, always: It is true. It dates from childhood. For the first time in my long life I am almost happy. The book, almost finished, Almost seems good. It will endure, a monument To my obsessions, my hatred, my disgust. Debts and inquietude persist and weaken me. Satan glides before me, saying sweetly: “Rest for a day! You can rest and play today. Tonight you will work.” When night comes, My mind, terrified by the arrears, Bored by sadness, paralyzed by impotence, Promises: “Tomorrow: I will tomorrow.” Tomorrow the same comedy enacts itself With the same resolution, the same weakness. I am sick of this life of furnished rooms. I am sick of having colds and headaches: You know my strange life. Every day brings Its quota of wrath. You little know A poet’s life, dear Mother: I must write poems, The most fatiguing of occupations. I am sad this morning. Do not reproach me. I write from a café near the post office, Amid the click of billiard balls, the clatter of dishes, The pounding of my heart. I have been asked to write “A History of Caricature.” I have been asked to write “A History of Sculpture.” Shall I write a history Of the caricatures of the sculptures of you in my heart? Although it costs you countless agony, Although you cannot believe it necessary, And doubt that the sum is accurate, Please send me money enough for at least three weeks.

Remarkable, if for nothing else, because of this, that all of those men and women who stayed for any reason left behind them some monument, some structure of marble and brick and stone that still stands; so that even when the gas lamps went out and the planes came in and the office buildings crowded the blocks of Canal Street, something irreducible of beauty and romance remained; not in every street perhaps, but in so many that the landscape is for me the landscape of those times always, and walking now in the starlit streets of the Quarter or the Garden District I am in those times again. I suppose that is the nature of the monument. Be it a small house or a mansion of Corinthian columns and wrought-iron lace. The monument does not say that this or that man walked here. No, that what he felt in one time in one spot continues. The moon that rose over New Orleans then still rises. As long as the monuments stand, it still rises. The feeling, at least here...and there...it remains the same.

All three of the English types I have mentioned can, I think, be accounted for as the results of the presence of different cultures, existing side by side in the country, and who were the creation of the folk in ages distantly removed one from another. In a word, they represent specific " strata" of folk-imagination. The most diminutive of all are very probably to be associated with a New Stone Age conception of spirits which haunted burial-mounds and rude stone monuments. We find such tiny spirits haunting the great stone circles of Brittany. The "Small People," or diminutive fairies of Cornwall, says Hunt, are believed to be "the spirits of people who inhabited Cornwall many thousands of years ago. "The spriggans, of the same area, are a minute and hirsute family of fairies" found only about the cairns, cromlechs, barrows, or detached stones, with which it is unlucky to meddle." Of these, the tiny fairies of Shakespeare, Drayton, and the Elizabethans appear to me to be the later representatives. The latter are certainly not the creation of seventeenth-century poets, as has been stated, but of the aboriginal folk of Britain.

To those who say I am trying to change history, they should realize that the history of Confederate monuments represents a racist legacy all people should abhor. Moreover, many people did protest their construction. In 1900, Georgia's population was 46.7 percent African American and Virginia's was 35.6 percent, but Black people had been purged form the voting rolls and had no voice on the use of public land or money.

The Unknown Citizen by W. H. Auden (To JS/07 M 378 This Marble Monument Is Erected by the State) He was found by the Bureau of Statistics to be One against whom there was no official complaint, And all the reports on his conduct agree That, in the modern sense of an old-fashioned word, he was a saint, For in everything he did he served the Greater Community. Except for the War till the day he retired He worked in a factory and never got fired, But satisfied his employers, Fudge Motors Inc. Yet he wasn't a scab or odd in his views, For his Union reports that he paid his dues, (Our report on his Union shows it was sound) And our Social Psychology workers found That he was popular with his mates and liked a drink. The Press are convinced that he bought a paper every day And that his reactions to advertisements were normal in every way. Policies taken out in his name prove that he was fully insured, And his Health-card shows he was once in hospital but left it cured. Both Producers Research and High-Grade Living declare He was fully sensible to the advantages of the Instalment Plan And had everything necessary to the Modern Man, A phonograph, a radio, a car and a frigidaire. Our researchers into Public Opinion are content That he held the proper opinions for the time of year; When there was peace, he was for peace: when there was war, he went. He was married and added five children to the population, Which our Eugenist says was the right number for a parent of his generation. And our teachers report that he never interfered with their education. Was he free? Was he happy? The question is absurd: Had anything been wrong, we should certainly have heard.

Thus, the transitoriness of our existence in no way makes it meaningless. But it does constitute our responsibleness; for everything hinges upon our realizing the essentially transitory possibilities. Man constantly makes his choice concerning the mass of present potentialities; which of these will be condemned to nonbeing and which will be actualized? Which choice will be made an actuality once and forever, an immortal "footprint in the sands of time"? At any moment, man must decide, for better or for worse, what will be the monument of his existence. Usually, to be sure, man considers only the stubble field of transitoriness and overlooks the full granaries of the past, wherein he had salvaged once and for all his deeds, his joys and also his sufferings. Nothing can be undone, and nothing can be done away with. I should say having been is the surest kind of being.

Listen to a warning from the 1960s, sent from the pen of Jacques Ellul: “A while ago, people made the monumental error of saying that democracy, liberalism, competitive capitalism were all expressions of Christianity. Today they make the same monumental error for the benefit of socialism.”26 Let us not, in our own day, make a further monumental error by hitching Christianity to whatever political cart happens to be passing. Our grandchildren will not thank us for it.

They know we're here." He turns to Galen. "What do you think?" Galen scratches the back of his neck. "It's a trap." Toraf rolls his eyes. "Oh, you think so?" He shakes his head. "I'm asking if you think Musa is in on it." Galen is not very familiar with Musa. He's only talked to her a handful of times, and that was when he was very young. Still, out of all the Archives who seemed to support Jagen and his monumental act of treason, Musa's face does not come to mind. "Would she be?" Toraf shrugs. Woden scowls. “With much respect, Highness, Musa is an Archive. She will not forsake her vows to remain neutral.” It takes all of Galen’s willpower to bite his tongue. Woden is still naïve enough to believe that all the Archives are of a pure and unbiased mind. That they do not get tangled up in emotions such as greed, ambition, and envy. Did Woden attend the same tribunal I did? Toraf slaps Woden on the back. “Then you don’t mind going first?” The Poseidon Tracker visibly swallows. “Oh. Of course not. I’m happy to-“ “Oh, let’s get on with this,” Galen says, snatching the spear from Woden’s unsuspecting grasp. This seems to embarrass the young Tracker. Galen doesn’t have time for embarrassment. “Yes, let’s,” Toraf says. “Before the humans get those disgusting wrinkles on their skin.” He nudges Woden. “It’s probably the most horrific thing I’ve ever seen. And I’ve seen lots of things.” It’s the first time Galen realizes that Woden’s nervous demeanor and over-respectful attitude is not out of reverence for his own Royal status, but out of reverence for Toraf. It seems Toraf has a fan. And why wouldn’t he? He’s the best Tracker in the history of both territories. Any Tracker should feel humbled in his presence. Galen is not any Tracker. He grunts. “Shut up, idiot. Get behind me.” Toraf speeds ahead. “No, you get behind me, minnow.” Despite their grand words, they creep to the door together.

Finally we touch that Great Fact, which Goethe incorporated into his final words: the 'ever-womanly.' It is a sin against Goethe to say that here he means the female sex. He refers to that profundity signifying the human soul as related to the mystery of the world; that which deeply yearns as the eternal in man, the ever-womanly which draws the soul to the eternally immortal, the eternal wisdom, and which gives itself to the 'eternal masculine.' The ever-womanly draws us towards the ever-masculine. It has nothing to do with something feminine in the ordinary sense. Therefore can we truly seek this ever-womanly in man and woman: the ever-womanly which aspires to the union with the ever-manly in the cosmos, to become one with the Divine-Spiritual that inter-penetrates and permeates the world towards which Faust strives. This mystery of man of all ages pursued by Faust from the beginning, this secret to which Spiritual Science is to lead us in a modern sense, is expressed by Goethe paradigmatically and monumentally in those five words at the conclusion of the second part of Faust represented as a mystic Spirit Choir; that everything physical surrounding us in the sense world is Maya, illusion; a symbol only of the spiritual. But this spiritual we can perceive if we penetrate that which covers it like a veil. And in it we see attained what on earth was impossible of attainment. We see that, which for ordinary intellect is indescribable, transformed into action as soon as the human spirit unites with the spiritual world. 'The ineffable wrought in love.' And we see the significance of the moment when the soul becomes united with the eternal masculine of the cosmic world. That is the great secret expressed by Goethe in the words: 'All of mere transient date As symbol showeth; Here the inadequate To fullness groweth; Here the ineffable Wrought is in love; The ever-womanly Draws us above ...

None of these men will bring about your death any time sooner, but rather they will teach you how to die. None of them will shorten your lifespan, but each will add the wisdom of his years to yours. In other words, there is nothing dangerous about talking to these people and it won’t cost you a penny. Take from them as much as you wish. It’s up to you to squeeze the most you can from their wisdom. What bliss, what a glorious old age awaits the man who has offered himself as a mate to these intellects! He will have mentors and colleagues from whom he may seek advice on the smallest of matters, companions ever ready with counsel for his daily life, from whom he may hear truth without judgment, praise without flattery, and after whose likeness he may fashion himself. They say ‘you can’t choose your parents,’ that they have been given to us by chance; but the good news is we can choose to be the sons of whomever we desire. There are many respectable fathers scattered across the centuries to choose from. Select a genius and make yourself their adopted son. You could even inherit their name and make claim to be a true descendant and then go forth and share this wealth of knowledge with others. These men will show you the way to immortality, and raise you to heights from which no man can be cast down. This is the only way to extend mortality – truly, by transforming time into immortality. Honors, statues and all other mighty monuments to man’s ambition carved in stone will crumble but the wisdom of the past is indestructible. Age cannot wither nor destroy philosophy which serves all generations. Its vitality is strengthened by each new generation’s contribution to it. The Philosopher alone is unfettered by the confines of humanity. He lives forever, like a god. He embraces memory, utilizes the present and anticipates with relish what is to come. He makes his time on Earth longer by merging past, present and future into one.

We are wont to say that it was not in our power to choose the parents who fell to our lot, that they have been given to men by chance; yet we may be the sons of whomsoever we will. Households there are of noblest intellects; choose the one into which you wish to be adopted; you will inherit not merely their name, but even their property, which there will be no need to guard in a mean or niggardly spirit; the more persons you share it with, the greater it will become. These will open to you the path to immortality, and will raise you to a height from which no one is cast down. This is the only way of prolonging mortality—nay, of turning it into immortality. Honours, monuments, all that ambition has commanded by decrees or reared in works of stone, quickly sink to ruin; there is nothing that the lapse of time does not tear down and remove. But the works which philosophy has consecrated cannot be harmed; no age will destroy them, no age reduce them; the following and each succeeding age will but increase the reverence for them, since envy works upon what is close at hand, and things that are far off we are more free to admire. The life of the philosopher, therefore, has wide range, and he is not confined by the same bounds that shut others in. He alone is freed from the limitations of the human race; all ages serve him as if a god. Has some time passed by? This he embraces by recollection. Is time present? This he uses. Is it still to come? This he anticipates. He makes his life long by combining all times into one.

The Yogic sages say that all the pain of a human life is caused by words, as is all the joy. We create words to define our experience and those words bring attendant emotions that jerk us around like dogs on a leash. We get seduced by our own mantras (I['m a failure... I'm lonely... I'm a failure... I'm lonely...) and we become monuments to them. To stop talking for a while, then, is to attempt to strip away the power of words, to top choking ourselves with words, to liberate ourselves from our suffocating mantras.

I realize there’s only one way to make her understand what a huge, enormous, monumental deal it is--I have to tell her the truth. So I do. When I’m finished, Nan just smiles and says, “It’s about damn time you put that boy out of his misery. He’s only been in love with you since…well, since forever.” I roll my eyes. “No, you’ve got it backward. We’ve hated each other since forever.” “Love, hate,” she says with a smile. “Such a fine line between the two, isn’t there?” And you know what? I realize then that she’s right.

I suggest that the only books that influence us are those for which we are ready, and which have gone a little farther down our particular path than we have got ourselves. I suggest, furthermore, that when you feel that you could almost have written the book yourself—that’s the moment when it’s influencing you. You are not influenced when you say, ‘How marvelous! What a revelation! How monumental! Oh!’ You are being extended. You are being influenced when you say ‘I might have written that myself if I hadn’t be so busy.

It always seems to be morning when she remembers things. I open my eyes to the roll of the ship and the sight of her watching me with her thoughtful, gold gaze, and then she’ll say something monumental, delivering it as it’s as magnificent as which socks I should wear that day. Luta Voma, she said. What? I said, confused. LV, she said. Linta. Linta? Ahsoken? LV! Luta Voma! I was trying to wake up, trying to form thoughts around why the words luta voma should be dropping into my consciousness with a splash of what sleepily felt like surprise. Isn’t luta voma a Keepish expression for hope? I finally managed. No, she said. Toma voma is hope. Luta voma is something else, she said. Trust. So, your prior name was Trust and your new name is Hope? I said. Isn’t that a strange coincidence, that they’re so similar? No, she said. Girl tried many names before Hope agreed. Remember? Before, Hope liked Luta Voma. Now, Hope likes Hope. It made me wonder, wish, that something essential remains, no matter how much we are hurt.

It will be a year and a half ago soon since we found ourselves at last after many wanderings and numerous calamities in this magnificent capital, adorned with innumerable monuments. Here I obtained a situation.... I obtained it and I lost it again. Do you understand? This time it was through my own fault I lost it: for my weakness had come out.... We have now part of a room at Amalia Fyodorovna Lippevechsel’s; and what we live upon and what we pay our rent with, I could not say. There are a lot of people living there besides ourselves. Dirt and disorder, a perfect Bedlam...

From that point of view he gazed at the Oriental beauty he had not seen before. It seemed strange to him that his long-felt wish, which had seemed unattainable, had at last been realized. In the clear morning light he gazed now at the city and now at the plan, considering its details, and the assurance of possessing it agitated and awed him. "But could it be otherwise?" he thought. "Here is this capital at my feet. Where is Alexander now, and of what is he thinking? A strange, beautiful, and majestic city; and a strange and majestic moment! In what light must I appear to them!" thought he, thinking of his troops. "Here she is, the reward for all those fainthearted men," he reflected, glancing at those near him and at the troops who were approaching and forming up. "One word from me, one movement of my hand, and that ancient capital of the Tsars would perish. But my clemency is always ready to descend upon the vanquished. I must be magnanimous and truly great. But no, it can't be true that I am in Moscow," he suddenly thought. "Yet here she is lying at my feet, with her golden domes and crosses scintillating and twinkling in the sunshine. But I shall spare her. On the ancient monuments of barbarism and despotism I will inscribe great words of justice and mercy… . It is just this which Alexander will feel most painfully, I know him." (It seemed to Napoleon that the chief import of what was taking place lay in the personal struggle between himself and Alexander.) "From the height of the Kremlin—yes, there is the Kremlin, yes—I will give them just laws; I will teach them the meaning of true civilization, I will make generations of boyars remember their conqueror with love. I will tell the deputation that I did not, and do not, desire war, that I have waged war only against the false policy of their court; that I love and respect Alexander and that in Moscow I will accept terms of peace worthy of myself and of my people. I do not wish to utilize the fortunes of war to humiliate an honored monarch. 'Boyars,' I will say to them, 'I do not desire war, I desire the peace and welfare of all my subjects.' However, I know their presence will inspire me, and I shall speak to them as I always do: clearly, impressively, and majestically. But can it be true that I am in Moscow? Yes, there she lies.

Death appears as the harsh victory of the law of our ancestors of the dimension of our becoming. It is a fact that, as productivity increases, each succeeding generation becomes smaller in stature. The defeat of our fathers is revisited upon us as the limits of our world. Yes, structure is human, it is the monumentalization of congealed sweat, sweat squeezed from old exploitation and represented as nature, the world we inhabit, the objective ground. We do not, in our insect-like comings and going, make the immediate world in which we live, we do not make a contribution, on the contrary we are set in motion by it; a generation will pass before what we have done, as an exploited class, will seep through as an effect of objectivity. (Our wealth is laid down in heaven.) The structure of the world has been built by the dead, they were paid in wages, and when the wages were spent and they were in the ground, what they had made continued to exist, these cities, roads and factories are their calcified bones. They had nothing but their wages to show for what they had done, who they were and what they did has been cancelled out. But what they made has continued into our present, their burial and decay is our present. This is the definition of class hatred. We are no closer now to rest, to freedom, to communism than they were, their sacrifice has brought us nothing, what they did counted for nothing, we have inherited nothing, but they did produce value, they did make the world in which we now live, the world that now oppresses us is constructed from the wealth they made, wealth that was taken from them as soon as they were paid a wage, taken and owned by someone else, owned and used to define the nature of class domination. We too must work, and the value we produce leaks away from us, from each only a trickle but in all a sea of it and that, for the next generation, will thicken into wealth for others to own and as a congealed structure it will be used to frame new enterprises in different directions. The violence of what they produced becomes the structure that dominates our existence. Our lives begin amidst the desecration of our ancestors, millions of people who went to their graves as failures, and forever denied experiences of a full human existence, their simply being canceled out; as our parents die, we can say truly that their lives were for nothing, that the black earth that is thrown down onto them blacks out our sky.

I reach over and grab his hand, and lock my fingers around his, and he locks back, and I am comforted in knowing that tonight he feels the exact same way, and there is no distance between us. We spread a blanket out and lie side by side. The moon looks like a glacier in the navy night. So far I don’t see anything out of the ordinary. It looks like the normal night sky to me. “Maybe we should’ve gone to the mountains,” Peter says, turning his face to look at me. “No, this is perfect,” I say. “Anyway, I read that stargazing is a waiting game no matter where you are.” “We have all night,” he says, pulling me closer. Sometimes I wish we’d met when we were twenty-seven. Twenty-seven sounds like a good age to meet the person you’re going to spend the rest of your life with. At twenty-seven, you are still young, but hopefully you are well on your way to being the you you want to be. But then I think, no, I wouldn’t give up twelve, thirteen, sixteen, seventeen with Peter for the world. My first kiss, my first fake boyfriend, my first real boyfriend. The first boy who ever bought me a piece of jewelry. Stormy would say that that is the most monumental moment of all. She told me that that’s how a boy lets you know that you’re his. I think for us it was the opposite. It’s how I knew he was mine. I don’t want to forget any of this. The way he’s looking at me at this very moment. How, when he kisses me, I still get shivers down my back, every time. I want to hold on to everything so tight.

Hunters will tell you that a moose is a wily and ferocious forest creature. Nonsense. A moose is a cow drawn by a three-year-old. That’s all there is to it. Without doubt, the moose is the most improbable, endearingly hopeless creature ever to live in the wilds. Every bit of it—its spindly legs, its chronically puzzled expression, its comical oven-mitt antlers—looks like some droll evolutionary joke. It is wondrously ungainly: it runs as if its legs have never been introduced to each other. Above all, what distinguishes the moose is its almost boundless lack of intelligence. If you are driving down a highway and a moose steps from the woods ahead of you, he will stare at you for a long minute (moose are notoriously shortsighted), then abruptly try to run away from you, legs flailing in eight directions at once. Never mind that there are several thousand square miles of forest on either side of the highway. The moose does not think of this. Clueless as to what exactly is going on, he runs halfway to New Brunswick before his peculiar gait inadvertently steers him back into the woods, where he immediately stops and takes on a startled expression that says, “Hey—woods. Now how the heck did I get here?” Moose are so monumentally muddle-headed, in fact, that when they hear a car or truck approaching they will often bolt out of the woods and onto the highway in the curious hope that this will bring them to safety. Amazingly, given the moose’s lack of cunning and peculiarly-blunted survival instincts, it is one of the longest-surviving creatures in North America.

But she was a baneful person who spoiled my good days and rejoiced in my bad and who would never allow herself to extol or admire me or to view me as others did in the mythic dimensions of a hero king, or as a huge, monumental figure immortalized on a great pedestal of white marble. And that's another thing.. If anything, the Michelangelo statue of Moses in Rome looks more like me in my prime than the one in Florence does of me at any phase in my life. Everybody says so. I wasn't that large, naturally, and I'm not made of marble. I have no scar on my shin or horns jutting from my head. But I had that same superior and sublimely articulated physique and that same unquestionable aura of immortal greatness and strength until I began to lessen with age and they would let me go no more out to battle.

The games she was playing were serious, workmanlike chess played by the best players in the world, and the amount of mental energy latent in each move was staggering. Yet the results were often monumentally dull and inconclusive. An enormous power of thought might be implicit in a single white pawn move, say, opening up a long-range threat that could become manifest only in half a dozen moves; but Black would foresee the threat and find the move that canceled it out, and the brilliancy would be aborted. It was frustrating and anticlimactic, yet—because Benny forced her to stop and see what was going on—fascinating. They kept it up for six days, leaving the apartment only when necessary and once, on Wednesday night, going to a movie. Benny did not own a TV, or a stereo; his apartment was for eating, sleeping and chess.

I must say, you aren’t being very mature or very consistent!” His dark brows snapped together as their truce began to disintegrate. “What the hell is that supposed to mean?” Elizabeth bridled, looking at him like the haughty, disdainful young aristocrat she was born to be. “It means,” she informed him, making a monumental effort to speak clearly and coolly, “that you have no right to act as if I did something evil, when in truth you yourself regarded it as nothing but a-a meaningless dalliance. You said as much, so there’s no point in denying it!” He finished loading the gun before he spoke. In contrast to his grim expression, his voice was perfectly bland. “My memory apparently isn’t as good as yours. To whom did I say that?” “My brother, for one,” she said, impatient with his pretense. “Ah, yes, the honorable Robert,” he replied, putting sarcastic emphasis on the word “honorable.” He turned to the target and fired, but the shot was wide of the mark. “You didn’t even hit the right tree,” Elizabeth said in surprise. “I thought you said you were going to clean the guns,” she added when he began methodically sliding them into leather cases, his expression preoccupied. He looked up at her, but she had the feeling he’d almost forgotten she was there. “I’ve decided to do it tomorrow instead.” Ian went into the house, automatically putting the guns back on the mantel; then he wandered over to the table, frowning thoughtfully as he reached for the bottle of Madeira and poured some into his glass. He told himself it made no difference how she might have felt when her brother told her that falsehood. For one thing, she was already engaged at the time, and, by her own admission, she’d regarded their relationship as a flirtation. Her pride might have suffered a richly deserved blow, but nothing worse than that.

Move when it’s time We were touring the ruins at Hovenweep National Monument in the southwestern United States. A sign along the interpretive trail told about the Anasazi who had lived along the small, narrow canyon so long ago. The archaeologists have done their best to determine what these ancient Indians did and how they lived their lives. The signs told about the strategic positioning of the buildings perched precariously on the edge of a cliff, and questioned what had caused this ancient group to suddenly disappear long ago. “Maybe they just got tired of living there and moved,” my friend said. We laughed as we pictured a group of wise ancients sitting around the campfire one night. “You know,” says one of them, “I’m tired of this desert. Let’s move to the beach.” And in our story they did. No mystery. No aliens taking them away. They just moved on, much like we do today. It’s easy to romanticize what we don’t know. It’s easy to assume that someone else must have a greater vision, a nobler purpose than just going to work, having a family, and living a life. People are people, and have been throughout time. Our problems aren’t new or unique. The secret to happiness is the same as it has always been. If you are unhappy with where you are, don’t be there. Yes, you may be here now, you may be learning hard lessons today, but there is no reason to stay there. If it hurts to touch the stove, don’t touch it. If you want to be someplace else, move. If you want to chase a dream, then do it. Learn your lessons where you are, but don’t close off your ability to move and to learn new lessons someplace else. Are you happy with the path that you’re on? If not, maybe it’s time to choose a new one. There need not be a great mysterious reason. Sometimes it’s just hot and dry, and the beach is calling your name. Be where you want to be. God, give me the courage to find a path with heart. Help me move on when it’s time.

I have always admired businessmen and criminals. How cleverly they react to all sorts of discoveries or events and turn them to their own advantage! Even an eclipse of the sun. When we simple folk hear that one’s coming up soon, we just act dumb and talk about it without seeking any material advantage for ourselves, saying how interesting astronomical phenomena are and how we really ought to watch them. A businessman, though, realizes that people will want to watch the eclipse but they won’t want to go blind in the process. That means they’ll need special glasses, and plenty of them. The businessman gets to work on the glasses, but meanwhile the criminal is already figuring it will be dark during the eclipse, and while the people are gazing up into the sky, they’re sure to lower their guard and forget to keep an eye on their pockets. Or else, let’s say, they’ll go dashing out into the street to observe the eclipse without closing the door to their apartment.

You whom I could not save, Listen to me. Can we agree Kevlar backpacks shouldn’t be needed for children walking to school? Those same children also shouldn’t require a suit of armor when standing on their front lawns, or snipers to watch their backs as they eat at McDonalds. They shouldn’t have to stop to consider the speed of a bullet or how it might reshape their bodies. But one winter, back in Detroit, I had one student who opened a door and died. It was the front door to his house, but it could have been any door, and the bullet could have written any name. The shooter was thirteen years old and was aiming at someone else. But a bullet doesn’t care about “aim,” it doesn’t distinguish between the innocent and the innocent, and how was the bullet supposed to know this child would open the door at the exact wrong moment because his friend was outside and screaming for help. Did I say I had “one” student who opened a door and died? That’s wrong. There were many. The classroom of grief had far more seats than the classroom for math though every student in the classroom for math could count the names of the dead. A kid opens a door. The bullet couldn’t possibly know, nor could the gun, because “guns don’t kill people,” they don’t have minds to decide such things, they don’t choose or have a conscience, and when a man doesn’t have a conscience, we call him a psychopath. This is how we know what type of assault rifle a man can be, and how we discover the hell that thrums inside each of them. Today, there’s another shooting with dead kids everywhere. It was a school, a movie theater, a parking lot. The world is full of doors. And you, whom I cannot save, you may open a door and enter a meadow, or a eulogy. And if the latter, you will be mourned, then buried in rhetoric. There will be monuments of legislation, little flowers made from red tape. What should we do? we’ll ask again. The earth will close like a door above you. What should we do? And that click you hear? That’s just our voices, the deadbolt of discourse sliding into place.

Yet each time, after consulting her watch, she sat down again at my request, so that in the end she had spent several hours with me without my having demanded anything of her; the things I said to her were related to those I had said during the preceding hours, were totally unconnected with what I was thinking about, what I desired, and remained doggedly parallel to all this. There is nothing like desire for obstructing any resemblance between what one says and what one has on one’s mind. Time presses, and yet it seems as though we were trying to gain time by speaking about things that are utterly alien to the one thing that preoccupies us. We chatter away, whereas the words we should like to utter would have by now been accompanied by a gesture, if indeed we have not – to give ourselves the pleasure of immediate action and to slake the curiosity we feel about the ensuing reactions to it – without a word, without so much as a by-your-leave, already made this gesture. It is true that I was not in the least in love with Albertine: born from the mist outside, she could do no more than satisfy the fanciful desire awakened in me by the change in the weather, poised midway between the desires that are satisfied by culinary arts and by monumental sculpture respectively, because it made me dream both of mingling my flesh with a substance that was different and warm, and of attaching to some point of my recumbent body a divergent body, as Eve’s body is barely attached by the feet to the side of Adam, to whose body hers is almost perpendicular in the Romanesque bas-reliefs in the Balbec cathedral, representing in so noble and so placid a fashion, still almost like a classical frieze, the creation of woman; in them God is followed everywhere, as by two ministers, by two little angels recalling – like the winged, swirling creatures of the summer that winter has caught by surprise and spared – cupids from Herculaneum still surviving well into the thirteenth century, flagging now in their last flight, weary, but never relinquishing the grace we might expect of them, over the whole front of the porch.

Behind me, my phone buzzes with a new text. Nan looks around me suspiciously. “Why are you hiding your cell phone under your pillow?” Busted. “Because I thought you were Mama,” I answer truthfully. “And you didn’t want her to know…what?” I exhale slowly, trying to decide how much to reveal to her. I reach for my phone and drag it out. “You kind of caught me and Ryder texting.” “You and Ryder? Why is that a secret? Wait--do you mean you two were sexting?” “Oh my God! No. Eww!” That’s just so…tacky. She shrugs. “Well, then, what’s the big deal?” I realize there’s only one way to make her understand what a huge, enormous, monumental deal it is--I have to tell her the truth. So I do. When I’m finished, Nan just smiles and says, “It’s about damn time you put that boy out of his misery. He’s only been in love with you since…well, since forever.” I roll my eyes. “No, you’ve got it backward. We’ve hated each other since forever.” “Love, hate,” she says with a smile. “Such a fine line between the two, isn’t there?” And you know what? I realize then that she’s right.

The essay was entitled “Gibbon Through the Night,” and from it Isao was able to draw this essential portion: By any standard Gibbon’s work is a masterpiece. It goes without saying that I am far too deficient in scholarship and intellect to comprehend its wisdom, but I may safely contend that no Japanese translation can possibly convey the monumental significance of The Decline and Fall of the Roman Empire. The lavishly illustrated 1909 edition edited by Professor Bury, seven volumes, unabridged, is absolutely without peer. When I give myself over to the pleasure of reading Gibbon by the light afforded by my bedside lamp, the hour inevitably grows far advanced. The breathing of my sleeping wife beside me, the rustle of the pages of my Bury edition of Gibbon, and the ticking of the antique clock purchased from LeRoi’s of Paris become by and by the only sounds that occupy the silence of my bedroom, forming a kind of delicate nocturnal trio. And the small lamp that illumines Gibbon’s pages is, within the whole house, the last torch of the intellect to be extinguished each night.

OK, there’s a guy in a suit standing at the window. This is the fourth time I’ve seen him in three days. And I will promise you one thing. If you look now, he won’t be there.” I turned around. A man in a suit disappeared down the sidewalk. “What did I say?” she said. “Are you telling me you’re being followed?” “It’s unclear.” Fishing vests, sleeping in public, antipsychotic medication, and now men following her? When Bee was two, she developed a strange attachment to a novelty book Bernadette and I had bought years ago from a street vendor in Rome. ROME Past and Present A Guide To the Monumental Centre of Ancient Rome With Reconstructions of the Monuments It has photographs of present-day ruins, with overlays of how they looked in their heyday. Bee would sit in her hospital bed, hooked up to her monitors, and flip back and forth among the images. The book had a puffy red plastic cover that she’d chew on. I realized I was now looking at Bernadette Past and Present. There was a terrifying chasm between the woman I fell in love with and the ungovernable one sitting across from me.

One of the few perks of the shit so monumentally hitting the fan is you discover who your real tribe is. It’s the only way through. So make sure you find yours, Kit.” “Okay,” I say, and start assembling my team in my head. I think back to middle school, when we’d have to pick players for dodgeball in gym. David was always chosen last. I imagine him standing there, looking two feet above everyone else’s heads, his hands flapping at his sides—something he still does occasionally, though I’m not sure he realizes it—and I want to go back in time and hug him, whisper in his ear that he can come stand by me. Tell him if he gets tired of flapping, he can hold my hand instead. “I very much hope you’ll consider including me,” my mom says in her quietest voice, and I realize this is the closest someone like my mother gets to begging. When I don’t immediately respond, she says, “At the very least, hashtag squad goals.” I laugh. My mom loves to try to talk like a teenager. A few weeks ago, I overheard her on the phone complaining about how she was tired of adulting and the last time we watched a romantic comedy together, she wanted to ship all the secondary characters. “Yeah, we can work on that,” I say, and realize just how much I’ve missed my mom recently. How I can’t make it through without her. That there will always be room in my tribe

Those of us who hope to be their allies should not be surprised, if and when this day comes, that when those who have been locked up and locked out finally have the chance to speak and truly be heard, what we hear is rage. The rage may frighten us; it may remind us of riots, uprisings, and buildings aflame. We may be tempted to control it, or douse it with buckets of doubt, dismay, and disbelief. But we should do no such thing. Instead, when a young man who was born in the ghetto and who knows little of life beyond the walls of his prison cell and the invisible cage that has become his life, turns to us in bewilderment and rage, we should do nothing more than look him in the eye and tell him the truth. We should tell him the same truth the great African American writer James Baldwin told his nephew in a letter published in 1962, in one of the most extraordinary books ever written, The Fire Next Time. With great passion and searing conviction, Baldwin had this to say to his young nephew: This is the crime of which I accuse my country and my countrymen, and for which neither I nor time nor history will ever forgive them, that they have destroyed and are destroying hundreds of thousands of lives and do not know it and do not want to know it …. It is their innocence which constitutes the crime …. This innocent country set you down in a ghetto in which, in fact, it intended that you should perish. The limits of your ambition were, thus, expected to be set forever. You were born into a society which spelled out with brutal clarity, and in as many ways as possible, that you were a worthless human being. You were not expected to aspire to excellence: you were expected to make peace with mediocrity …. You have, and many of us have, defeated this intention; and, by a terrible law, a terrible paradox, those innocents who believed that your imprisonment made them safe are losing their grasp on reality. But these men are your brothers—your lost, younger brothers. And if the word integration means anything, this is what it means: that we, with love, shall force our brothers to see themselves as they are, to cease fleeing from reality and begin to change it. For this is your home, my friend, do not be driven from it; great men have done great things here, and will again, and we can make America what it must become. It will be hard, but you come from sturdy, peasant stock, men who picked cotton and dammed rivers and built railroads, and, in the teeth of the most terrifying odds, achieved an unassailable and monumental dignity. You come from a long line of great poets since Homer. One of them said, The very time I thought I was lost, My dungeon shook and my chains fell off …. We cannot be free until they are free. God bless you, and Godspeed.67

But we may fairly say that they alone are engaged in the true duties of life who shall wish to have Zeno, Pythagoras, Democritus, and all the other high priests of liberal studies, and Aristotle and Theophrastus, as their most intimate friends every day. No one of these will be "not at home," no one of these will fail to have his visitor leave more happy and more devoted to himself than when he came, no one of these will allow anyone to leave him with empty hands; all mortals can meet with them by night or by day. No one of these will force you to die, but all will teach you how to die; no one of these will wear out your years, but each will add his own years to yours; conversations with no one of these will bring you peril, the friendship of none will endanger your life, the courting of none will tax your purse. From them you will take whatever you wish; it will be no fault of theirs if you do not draw the utmost that you can desire. What happiness, what a fair old age awaits him who has offered himself as a client to these! He will have friends from whom he may seek counsel on matters great and small, whom he may consult every day about himself, from whom he may hear truth without insult, praise without flattery, and after whose likeness he may fashion himself. We are wont to say that it was not in our power to choose the parents who fell to our lot, that they have been given to men by chance; yet we may be the sons of whomsoever we will. Households there are of noblest intellects; choose the one into which you wish to be adopted; you will inherit not merely their name, but even their property, which there will be no need to guard in a mean or niggardly spirit; the more persons you share it with, the greater it will become. These will open to you the path to immortality, and will raise you to a height from which no one is cast down. This is the only way of prolonging mortality—nay, of turning it into immortality. Honours, monuments, all that ambition has commanded by decrees or reared in works of stone, quickly sink to ruin; there is nothing that the lapse of time does not tear down and remove. But the works which philosophy has consecrated cannot be harmed; no age will destroy them, no age reduce them; the following and each succeeding age will but increase the reverence for them, since envy works upon what is close at hand, and things that are far off we are more free to admire. The life of the philosopher, therefore, has wide range, and he is not confined by the same bounds that shut others in. He alone is freed from the limitations of the human race; all ages serve him as if a god. Has some time passed by? This he embraces by recollection. Is time present? This he uses. Is it still to come? This he anticipates. He makes his life long by combining all times into one. But those who forget the past, neglect the present, and fear for the future have a life that is very brief and troubled; when they have reached the end of it, the poor wretches perceive too late that for such a long while they have been busied in doing nothing.

There has been a revolution in the way people think. They have just noticed, without daring to say it, that the old paradigm, according to which ‘the fate of humanity, individual and collective, is getting better every day, thanks to science, democratisation, and egalitarian emancipation’, is false. The age that believed it is over. This illusion has fallen. This progress (debatable anyhow according to people like Ivan Illich)[203] lasted probably less than a century. Today, the unintended consequences of mass technology are beginning to be felt: new resistant viruses, the toxicity of processed food, the exhaustion of the soil and the shrinking of the world’s agricultural production, the general and rapid degradation of the environment, the threat of the invention of new weapons of mass destruction to add to nuclear weapons, and so on. In addition, technology is entering its baroque age. The fundamental inventions were discovered by the end of the 1950s. The improvements to them made in later decades have contributed fewer and fewer concrete ameliorations, like so many useless decorative motifs added to the superstructure of a monument. The Internet has probably had fewer revolutionary effects than the telegraph or the telephone. The Internet is a significant improvement applied to a pan-communication that was already substantially realised. Techno-science is following the ‘80-20’ power law. At the beginning it takes 20 units of energy to obtain 60 units of force. Later it takes 80 units of energy to realise only 20 units of force.

Now the muted setting made sense: a neutral setting, soothing light, a book. The deep magic fed the beast within him. It took a monumental effort of will to restrain it. With the flare so close, Curran was a powder keg with a short fuse. I had to be careful not to light that fuse. Nobody outside the Pack, except for Andrea, knew I was here. He could kill me right now and they would never find my body. We shared a silence for a long moment. Magic blossomed, filling me with giddy energy. The short waves again. They would ebb in a minute, and then I’d be exhausted. Guilt gnawed at me. He could control himself in my presence, but I apparently couldn’t control myself in his. “Curran, up on the roof . . . That is, my brakes don’t work sometimes.” He leaned forward, suddenly animated. “Do I smell an apology?” “Yes. I said things I shouldn’t have. I regret saying them.” “Does this mean you’re throwing yourself at my feet?” “No. I pretty much meant that part. I just wish I could’ve put it in less offensive terms.” I glanced at him and saw a lion. He didn’t change, his face was still fully human, but there was something disturbingly lionlike in the way he sat, completely focused on me, as if ready to pounce. Stalking me without moving a muscle. The primordial urge to freeze shackled my limbs. I just sat there, unable to look away. A slow, lazy, carnivorous smile touched Curran’s lips. “Not only will you sleep with me, but you will say ‘please.’” I stared at him, shocked. The smile widened. “You will say ‘please’ before and ‘thank you’ after.” Nervous laughter bubbled up. “You’ve gone insane. All that peroxide in your hair finally did your brain in, Goldilocks.

My own observations had by now convinced me that the mind of the average Westerner held an utterly distorted image of Islam. What I saw in the pages of the Koran was not a ‘crudely materialistic’ world-view but, on the contrary, an intense God-consciousness that expressed itself in a rational acceptance of all God-created nature: a harmonious side-by-side of intellect and sensual urge, spiritual need and social demand. It was obvious to me that the decline of the Muslims was not due to any shortcomings in Islam but rather to their own failure to live up to it. For, indeed, it was Islam that had carried the early Muslims to tremendous cultural heights by directing all their energies toward conscious thought as the only means to understanding the nature of God’s creation and, thus, of His will. No demand had been made of them to believe in dogmas difficult or even impossible of intellectual comprehension; in fact, no dogma whatsoever was to be found in the Prophet’s message: and, thus, the thirst after knowledge which distinguished early Muslim history had not been forced, as elsewhere in the world, to assert itself in a painful struggle against the traditional faith. On the contrary, it had stemmed exclusively from that faith. The Arabian Prophet had declared that ‘Striving after knowledge is a most sacred duty for every Muslim man and woman’: and his followers were led to understand that only by acquiring knowledge could they fully worship the Lord. When they pondered the Prophet’s saying, ‘God creates no disease without creating a cure for it as well’, they realised that by searching for unknown cures they would contribute to a fulfilment of God’s will on earth: and so medical research became invested with the holiness of a religious duty. They read the Koran verse, ‘We create every living thing out of water’ - and in their endeavour to penetrate to the meaning of these words, they began to study living organisms and the laws of their development: and thus they established the science of biology. The Koran pointed to the harmony of the stars and their movements as witnesses of their Creator’s glory: and thereupon the sciences of astronomy and mathematics were taken up by the Muslims with a fervour which in other religions was reserved for prayer alone. The Copernican system, which established the earth’s rotation around its axis and the revolution of the planet’s around the sun, was evolved in Europe at the beginning of the sixteenth century (only to be met by the fury of the ecclesiastics, who read in it a contradiction of the literal teachings of the Bible): but the foundations of this system had actually been laid six hundred years earlier, in Muslim countries - for already in the ninth and tenth centuries Muslim astronomers had reached the conclusion that the earth was globular and that it rotated around its axis, and had made accurate calculations of latitudes and longitudes; and many of them maintained - without ever being accused of hearsay - that the earth rotated around the sun. And in the same way they took to chemistry and physics and physiology, and to all the other sciences in which the Muslim genius was to find its most lasting monument. In building that monument they did no more than follow the admonition of their Prophet that ‘If anybody proceeds on his way in search of knowledge, God will make easy for him the way to Paradise’; that ‘The scientist walks in the path of God’; that ‘The superiority of the learned man over the mere pious is like the superiority of the moon when it is full over all other stars’; and that ‘The ink of the scholars is more precious that the blood of martyrs’. Throughout the whole creative period of Muslim history - that is to say, during the first five centuries after the Prophet’s time - science and learning had no greater champion than Muslim civilisation and no home more secure than the lands in which Islam was supreme.