Monument Travel Quotes

Half a capital and half a country town, the whole city leads a double existence; it has long trances of the one and flashes of the other; like the king of the Black Isles, it is half alive and half a monumental marble.

in reference to Persepolis and all palaces, cities and temples of the past: could these wonders have come into being without that suffering? without the overseer's whip, the slave's fear, the ruler's vanity? was not the monumentality of past epochs created by that which is negative and evil in man?

Travel Tip: Relax. It's not a crime to want to sit in a cafe and not take a walking our of all those historic monuments in your peripheral vision.

One day, I am going to write a travel guide containing only maps and addresses of hotels, and with the rest of the pages blank. That way, people will have to make their own initery, to discover themselves restaurants, monuments and all the magnificent things that every city has, but which are never mentioned because ' the history we have been taught' does not include them in the list of things you must see.

Is it that by its indefiniteness it shadows forth the heartless voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation, when beholding the white depths of the milky way? Or is it, that as in essence whiteness is not so much a color as the visible absence of color; and at the same time the concrete of all colors; is it for these reasons that there is such a dumb blankness, full of meaning, in a wide landscape of snows- a colorless, all-color of atheism from which we shrink? And when we consider that other theory of the natural philosophers, that all other earthly hues — every stately or lovely emblazoning — the sweet tinges of sunset skies and woods; yea, and the gilded velvets of butterflies, and the butterfly cheeks of young girls; all these are but subtile deceits, not actually inherent in substances, but only laid on from without; so that all deified Nature absolutely paints like the harlot, whose allurements cover nothing but the charnel-house within; and when we proceed further, and consider that the mystical cosmetic which produces every one of her hues, the great principle of light, for ever remains white or colorless in itself, and if operating without medium upon matter, would touch all objects, even tulips and roses, with its own blank tinge — pondering all this, the palsied universe lies before us a leper; and like wilful travellers in Lapland, who refuse to wear colored and coloring glasses upon their eyes, so the wretched infidel gazes himself blind at the monumental white shroud that wraps all the prospect around him. And of all these things the Albino whale was the symbol. Wonder ye then at the fiery hunt?

But with one exception, all things pass from this world and time erases not just memories but entire civilizations, reducing everyone and every monument to dust. The only thing that survives is love, for it is an energy as enduring as light, which travels outward from its source toward the ever-expanding boundaries of the universe, the very energy of which all things were conceived and with which all things will be sustained in a world beyond this world of time and dust and forgetting.

Time is so subjective, its measure totally dependent upon the means by which we mark its passage. When we follow the conventional milestones, meting out our lives with birthdays and graduations and anniversaries and funerals, we are left with voids along the way-vast stretches of empty space lost forever, never to be filled. As time grows short, the significance of each moment increases, until finally every heartbeat is of monumental importance. Or so it seems at first. I have discovered, almost too late, that time is not just arbitrary, but of no great consequence after all. She has taught me that a touch is a lifetime, a kiss forever, and that passion will transcend the limitations of fragile existence to span eternity. I no longer worry about the beat of my heart-I need only the memory of her to live on. My soul, my very being, pulses with wonder at the places within me that she has filled, with gratitude for the wounds she has healed, and with everlasting devotion for the love she has given. In her arms, I found passion and peace and a place to rest. No matter where I travel or what road I take to reach my detestation, I will always have the comfort of her hand in my and the soft whisper of her voice reminding me that I do not need to be afraid. This, this has always been my secret desire, and now I need search no further. I am Loved, and I am content,

The Roman Road is the greatest monument ever raised to human liberty by a noble and generous people. It runs across mountain, marsh and river. It is built broad, straight and firm. It joins city with city and nation with nation. It is tens of thousands of miles long, and always thronged with grateful travellers. And while the Great Pyramid, a few hundred feet high and wide, awes sight-seers to silence—though it is only the rifled tomb of an ignoble corpse and a monument of oppression and misery, so that no doubt in viewing it you may still seem to hear the crack of the taskmaster's whip and the squeals and groans of the poor workmen struggling to set a huge block of stone into position——

By adherence to a special set of rules, the child of the shabby-genteel can sometimes leap across the time which has passed by his family and function in the real world without doing violence to the hopes his mother held out for him. But those who cannot live within this pattern are the freaks and poets, and they travel a different road to peace.

Approach a trip as a chance to collect unique experiences, not passport stamps, postcards and snapshots in front of famous monuments.

Many Castles On My Travels i have been A guest in Many castles Yet the Monument Which i Find Divine Is the oasis Where the heart And the silence Intertwine.” ~silent lotus

A thousand years from now" Leonidas declared, "two thousand, three thousand years hence, men a hundred generations yet unborn may, for their private purposes, make journey to our country. They will come, scholars perhaps, or travelers from beyond the sea, prompted by curiosity regarding the past, or appetite for knowledge of the ancients. They will peer out across our plain and probe among the stone and rubble of our nation. What will they learn about us? Their shovels will unearth neither brilliant palaces nor temples. Their picks will prize forth no everlasting architecture or art. What will remain of the Spartans? Not monuments of marble or bronze, but this......what we do here, today." Out beyond the narrows, the enemy trumpets sounded.

Belgium! name unromantic and unpoetic, yet name that whenever uttered has in my ear a sound, in my heart an echo, such as no other assemblage of syllables, however sweet or classic, can produce. Belgium! I repeat the word, now as I sit alone near midnight. It stirs my world of the past like a summons to resurrection; the graves unclose, the dead are raised; thoughts, feelings, memories that slept, are seen by me ascending from the clods--haloed most of them--but while I gaze on their vapoury forms, and strive to ascertain definitely their outline, the sound which wakened them dies, and they sink, each and all, like a light wreath of mist, absorbed in the mould, recalled to urns, resealed in monuments.

On Translating Eugene Onegin 1 What is translation? On a platter A poet's pale and glaring head, A parrot's screech, a monkey's chatter, And profanation of the dead. The parasites you were so hard on Are pardoned if I have your pardon, O, Pushkin, for my stratagem: I traveled down your secret stem, And reached the root, and fed upon it; Then, in a language newly learned, I grew another stalk and turned Your stanza patterned on a sonnet, Into my honest roadside prose-- All thorn, but cousin to your rose. 2 Reflected words can only shiver Like elongated lights that twist In the black mirror of a river Between the city and the mist. Elusive Pushkin! Persevering, I still pick up Tatiana's earring, Still travel with your sullen rake. I find another man's mistake, I analyze alliterations That grace your feasts and haunt the great Fourth stanza of your Canto Eight. This is my task--a poet's patience And scholastic passion blent: Dove-droppings on your monument.

world and time erases not just memories but entire civilizations, reducing everyone and every monument to dust. The only thing that survives is love, for it is an energy as enduring as light, which travels outward from its source toward the ever-expanding boundaries of the universe, the very energy of which all things were conceived and with which all things will be sustained in

Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-sized monster of ingratitudes: Those scraps are good deeds past; which are devour'd As fast as they are made, forgot as soon As done: perseverance, dear my lord, Keeps honour bright: to have done is to hang Quite out of fashion, like a rusty mail In monumental mockery. Take the instant way; For honour travels in a strait so narrow, Where one but goes abreast: keep then the path; For emulation hath a thousand sons That one by one pursue: if you give way, Or hedge aside from the direct forthright, Like to an enter'd tide, they all rush by And leave you hindmost; Or like a gallant horse fall'n in first rank, Lie there for pavement to the abject rear, O'er-run and trampled on: then what they do in present, Though less than yours in past, must o'ertop yours; For time is like a fashionable host That slightly shakes his parting guest by the hand, And with his arms outstretch'd, as he would fly, Grasps in the comer: welcome ever smiles, And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating time.

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.

Have you ever heard of the madman who on a bright morning lighted a lantern and ran to the market-place calling out unceasingly: "I seek God! I seek God!"—As there were many people standing about who did not believe in God, he caused a great deal of amusement. Why! is he lost? said one. Has he strayed away like a child? said another. Or does he keep himself hidden? Is he afraid of us? Has he taken a sea-voyage? Has he emigrated?—the people cried out laughingly, all in a hubbub. The insane man jumped into their midst and transfixed them with his glances. "Where is God gone?" he called out. "I mean to tell you! We have killed him,—you and I! We are all his murderers! But how have we done it? How were we able to drink up the sea? Who gave us the sponge to wipe away the whole horizon? What did we do when we loosened this earth from its sun? Whither does it now move? Whither do we move? Away from all suns? Do we not dash on unceasingly? Back-wards, sideways, forewards, in all directions? Is there still an above and below? Do we not stray, as through infinite nothingness? Does not empty space breathe upon us? Has it not become colder? Does not night come on continually, darker and darker? Shall we not have to light lanterns in the morning? Do we not hear the noise of the grave-diggers who are burying God? Do we not smell the divine putrefaction?—for even Gods putrefy! God is dead! God remains dead! And we have killed him! How shall we console ourselves, the most murderous of all murderers? The holiest and the mightiest that the world has hitherto possessed, has bled to death under our knife,—who will wipe the blood from us? With what water could we cleanse ourselves? What lustrums, what sacred games shall we have to devise? Is not the magnitude of this deed too great for us? Shall we not ourselves have to become Gods, merely to seem worthy of it? There never was a greater event,—and on account of it, all who are born after us belong to a higher history than any history hitherto!"—Here the madman was silent and looked again at his hearers; they also were silent and looked at him in surprise. At last he threw his lantern on the ground, so that it broke in pieces and was extinguished. "I come too early," he then said, "I am not yet at the right time. This prodigious event is still on its way, and is travelling,—it has not yet reached men's ears. Lightning and thunder need time, the light of the stars needs time, deeds need time, even after they are done, to be seen and heard. This deed is as yet further from them than the furthest star,—and yet they have done it!"—It is further stated that the madman made his way into different churches on the same day, and there intoned his Requiem æternam deo. When led out and called to account, he always gave the reply: "What are these churches now, if they are not the tombs and monuments of God?

People create all kind of fancy watches and clocks, never stopping to realize they're building monuments to the greatest of all thieves.

Many Castles On My Travels i have been A guest in Many castles Yet the Monument Which i Find Divine Is the oasis Where the heart And the silence Intertwine.

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.

But with one exception, all things pass from this world and time erases not just memories but entire civilizations, reducing everyone and every monument to dust. The only that survives is love, for it is an energy as enduring as light, which travels outward from its source toward the ever-expanding boundaries of the universe, the very energy of which all things were conceived and with which all things will be sustained in a world beyond this world of time and dust and forgetting".

Ben and I walked by the Forum, which, with the green grass still growing among the stones, seems to be a double ruin: a ruin of antiquity and a monument to the tender sentiments of eighteenth- and nineteenth-century travelers, for we see not only the ghosts of Romans here but the shades of ladies with parasols and men with beards and little children rolling hoops.

all deified Nature absolutely paints like the harlot, whose allurements cover nothing but the charnel-house within; and when we proceed further, and consider that the mystical cosmetic which produces every one of her hues, the great principle of light, for ever remains white or colorless in itself, and if operating without medium upon matter, would touch all objects, even tulips and roses, with its own blank tinge—pondering all this, the palsied universe lies before us a leper; and like wilful travellers in Lapland, who refuse to wear colored and coloring glasses upon their eyes, so the wretched infidel gazes himself blind at the monumental white shroud that wraps all the prospect around him. And of all these things the Albino whale was the symbol. Wonder ye then at the fiery hunt? ..

Unless one is in love, or satisfied, or ambition-driven, or without curiosity, or reconciled ( which appears to be the modern synonym for happiness ), the city is like a monumental machine restlessly devised for wasting time, devouring illusions. Like most artists, certainly all old beauties, she is sufficiently self-centered to enjoy herself as conversational subject. One does not travel in a plane; one is merely sent, like a parcel.

Psychoanalysis: An Elegy" What are you thinking about? I am thinking of an early summer. I am thinking of wet hills in the rain Pouring water. Shedding it Down empty acres of oak and manzanita Down to the old green brush tangled in the sun, Greasewood, sage, and spring mustard. Or the hot wind coming down from Santa Ana Driving the hills crazy, A fast wind with a bit of dust in it Bruising everything and making the seed sweet. Or down in the city where the peach trees Are awkward as young horses, And there are kites caught on the wires Up above the street lamps, And the storm drains are all choked with dead branches. What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.

That the great moments in the struggle of individuals form a chain, that in them the high points of humanity are linked throughout millennia, but what is highest in such a moment of the distant past be for me still alive, bright and great — this is the fundamental thought of the faith in humanity which is expressed in demand for a monumental history. Precisely this demand however, that the great be eternal, occasions the most terrible conflict. For all else which also lives cries no. The monumental ought not arise — that is the counter-watch-word. Dull habit, the small and lowly which fills all corners of the world and wafts like a dense earthly vapour around everything great, deceiving, smothering & suffocating, obstructs the path which the great must still travel to immortality.

That the great moments in the struggle of individuals form a chain, that in them the high points of humanity are linked throughout millennia, but what is highest in such a moment of the distant past be for me still alive, bright and great — this is the fundamental thought of the faith in humanity which is expressed in demand for a monumental history. Precisely this demand however, that the great be eternal, occasions the most terrible conflict. For all else which also lives cries no. The monumental ought not arise — that is the counter-watch-word. Dull habit, the small and lowly which fills all corners of the world and wafts like a dense earthly vapour around everything great, deceiving, smothering and suffocating, obstructs the path which the great must still travel to immortality.

A CITY IS AS much a state of mind as a place—a set of perceptions of place. On the last train home to Mullaghbrack or Gortyfarnham or half a hundred other BallyBogMans, two farmers fall to reviewing their experiences of the big city. One has walked the streets and avenues and come away with memories of glistening steeples and dreaming spires, monuments to men of bearing and import, Palladian porticos and grand civic cupolas, pillars, piers, and palisades, and the air full of singing birds. The other has walked the same streets, yet his memories are of grey brick tenements shouldering against each other like nervous thugs; cracked fanlights, windows boarded over with card, baby carriages full of coal or potatoes, tramps in doorways, cabbage leaves underfoot, the perfume of urine and porter, pressing people with voices like flatirons. They might have visited cities continents apart, but it is the same city.

The solidity of the building, its quite interiors, the monumental presence of its white facade in the middle of the city- in all its deliberate order and calm, the hotel underlined its separateness from its setting. Its effect was felt most keenly by the menial staff, who traveled each day from their homes in the flood-threatened outskirts of Allahabad and approached their place of work with something like awe. They looked very ill at ease in their green uniforms and were obsequiously polite with guests, calling to mind the Indians who had come to serve in the new city of Allahabad built by the British after the rude shock of the Indian Mutiny of 1857, the city whose simple colonial geography was plain from my sixth-floor hostel room, the railway tracks partitioning the congested "black town," with its minarets and temple domes, from the tree-lined grid of "white town," where for a long period no Indians, apart from servants, could appear in native dress.

I need only, to make them reappear, pronounce the names Balbec, Venice, Florence, within whose syllables had gradually accumulated the longing inspired in me by the places for which they stood. Even in spring, to come upon the name Balbec in a book sufficed to awaken in me the desire for storms at sea and for Norman Gothic; even on a stormy day the name Florence or Venice would awaken the desire for sunshine, for lilies, for the Palace of the Doges and for Santa Maria del Fiore. But if these names thus permanently absorbed the image I had formed of these towns, it was only by transforming that image, by subordinating its reappearance in me to their own special laws; and in consequence of this they made it more beautiful, but at the same time more different from anything that the towns of Normandy or Tuscany could in reality be, and, by increasing the arbitrary delights of my imagination, aggravated the disenchantment that was in store for me when I set out upon my travels. They magnified the idea that I had formed of certain places on the surface of the globe, making them more special and in consequence more real. I did not then represent to myself cities, landscapes, historical monuments, as more or less attractive pictures, cut out here and there of a substance that was common to them all, but looked on each of them as on an unknown thing, different in essence from all the rest, a thing for which my soul thirsted and which it would profit from knowing. How much more individual still was the character they assumed from being designated by names, names that were for themselves alone, proper names such as people have! Words present to us a little picture of things, clear and familiar, like the pictures hung on the walls of schoolrooms to give children an illustration of what is meant by a carpenter's bench, a bird, an anthill, things chosen as typical of everything else of the same sort. But names present to us— of persons, and of towns which they accustom us to regard as individual, as unique, like persons— a confused picture, which draws from them, from the brightness or darkness of their tone, the colour in which it is uniformly painted, like one of those posters, entirely blue or entirely red, in which, on account of the limitations imposed by the process used in their reproduction or by a whim on the designer's part, not only the sky and the sea are blue or red, but the ships and the church and the people in the streets.

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.

Man embarks upon old age unprepared. For as long as childhood, adolescence, youth and maturity last, man dwells on this earth with his own generation, with those who are a little older and a little younger than he is, as if they are all traveling together in one company. At school, at work, in the street, in a meeting, in a shop, in the bathhouse and the movie theater, by and large he always meets the same people–some he knows well, some he knows to say hello to and some he has simply seen somewhere at some time or other. And some are older than he is, some are younger, and yet others are just like him. A man can be imagined as walking along in the middle of a long column: there are still plenty of people ahead of him and people keep joining in behind. The man walks on and on, and suddenly he realizes that he has reached the front and there is no one left ahead of him. There are no more people who are twenty years older, ten years older, five years older, and even most of his contemporaries have died. And no matter which way he turns, everywhere he is the oldest. He looks back over his shoulder and there are many people who are younger, but they have grown up after the man glancing back has already stopped working; he has never associated with them and does not know them. And so it turns out that an old man, although he still has other people around him, is alone. Surrounded by the buzz of other people’s lives. Other people’s ways, passions, interests. And he doesn’t even completely understand the way they speak. And the old man begins to feel as if he has been transported to a foreign country even though he has stayed put in the same place all his life.

A Dictionary is an historical monument, the history of a nation contemplated from one point of view, and the wrong ways into which a language has wandered, or attempted to wander, may be nearly as instructive as the right ones in which it has travelled: as much may be learned, or nearly as much, from its failures as its successes, from its follies as from its wisdom.

Imagine yourself in a situation where you have recently been overly anxious. Now take a minute and imagine yourself back in that situation but this time in a calm frame of mind. See yourself calm and in control, feel yourself relaxed and at ease. Would you be happier? Would you do anything differently in that situation if you didn’t have anxiety? Take your time and use all of your senses to imagine this scenario. How much better will your life be when you can approach life in this calm way? 2. Imagine the things you would do if you didn’t have anxiety or panic attacks. Take a while to think about this, because this will be your motivation. It doesn’t have to be anything monumental. It could just be walking in the park or getting your groceries. Maybe going to the movies, hanging out with your friends, travelling to the city you’ve always dreamed of. My motivation was just to feel safe being alone and not having my phone with me – as simple as that. It can really help if you know why you are doing this and why you want to get better.

For those who choose to live no longer as tourists but as pilgrims, the Songs of Ascents combine all the cheerfulness of a travel song with the practicality of a guidebook and map. Their unpretentious brevity is excellently described by William Faulkner. “They are not monuments, but footprints. A monument only says, ‘At least I got this far,’ while a footprint says, ‘This is where I was when I moved again.’”9

These good white liberals want monuments and wilderness to protect the places they recreate, to keep out companies that want to suck the fossil fuels out from under the sandstone. But the oil and gas will be burned by and large by them, to travel to Utah’s public lands. And it’s used by us - you in your big red Cadillac and me in my Toyota truck - although I’ve recently downgraded to a more fuel-efficient Subaru, the preferred method of transport that’s most often frosted with bike, ski, and boat racks for outdoor enthusiasts across the nation. The land and those who live off it know this arrangement breeds no symbiosis. We all want to get to, and get off on, a body corralled and commodified. Our orgasmic need for release and relief eclipses the fact this is the living, breathing body of the Beloved - the naked desert that has demarcated and delineated - ribbed, we believe, for our pleasure.

divine views in the entire country, so if you want to see what a true monument of manmade energy can be please check out the Taj Mahal!

A couple of weeks after Mia’s bone graft surgery in January 2014, she received a letter from Congressman Trent Franks of Arizona on official United States congressional letterhead. Mia was so excited about the letter that she stood on the fireplace hearth (the living room stage) and proceeded to read it to the entire family. In the letter, Congressman Franks told Mia that he, too, was born with a cleft lip and palate and underwent many surgeries as a child. He told her he understood how she felt and told her not to get discouraged because he recognized how she is helping so many people. He invited her to Washington, DC, to receive an award from Congress for service to her community. As soon as she had finished reading it to us, she exclaimed, “Can we go?” Knowing how Jase puts little value on earthly awards and how he likes to travel even less, I responded with a phrase that most parents can understand and appreciate: “We’ll see.” Mia immediately ran upstairs and tacked the letter to her bulletin board, full of hope and optimism. How could Jase say no to this? Oh, she knew her daddy well. He couldn’t, and he didn’t. That summer, Mia, Jase, Reed, Cole, and I spent a few days together visiting monuments and historical sites in Washington before meeting Congressman Franks on July 8 in his office on Capitol Hill. Mia’s favorite monument was the Lincoln Memorial because she had learned about it in school, so it was cool to see it “for real.” It was really crowded there, and people were taking pictures of us while we were trying to read about the monument and take photographs ourselves. Getting Jase out of there took a while because of so many fans wanting pictures--he’s very accommodating. That’s why it surprised me that this was Mia’s favorite site. I’m glad she remembers the impact of the monument and didn’t allow the circus of activity from the fans to put a damper on her experience. Congressman Franks presented Mia with a Certificate of Special Congressional Recognition for “outstanding and invaluable service to the community” at a press conference held at the foot of the Capitol steps. Both he and Mia made speeches that day to numerous cameras and reporters. Hearing my ten-year-old daughter speak about her condition and how she hopes people will look to God to help them get through their own problems was an unbelievably proud moment for me, Jase, and her brothers. After the press conference, Congressman Franks took us into the House chamber where Congress was voting on a new bill. He took Mia down to the floor, introduced her to some of his colleagues, and let her push his voting button for him. When some of the other members of Congress saw this, they also asked her to push their voting buttons for them. Of course, Mia wasn’t going to push any buttons without quizzing these representatives about what exactly she was voting for. She needed to know what was in the bill before she pushed the buttons. Once she realized she agreed with the bill and saw that some members were voting “no,” she commented, “That’s just rude.” Mia was thrilled with the experience and told us all how she helped make history. Little does she know just how much history she has made and continues to make.

My father's decision to let me go to high school had a monumental on my life, because for the first time I had friends who were boys. It had nothing to do with sex, I assure you....No, it was about intellectual development. You see, in those days, boys were simply better educated than girls. The read more, traveled more, thought more. So now, for the first time, I began to have friends with whom I could really talk....

When you travel and go sight seeing you imagine seeing castles, lakes etc but you would not normally have a cemetery at the top of your to see list! Cimitero Monumentale is an old cemetery and, in a way, can also be considered a museum. Many people think of  it as one of the most beautiful cemeteries in the world, because of its monumental mausoleums, impressing sculptures and tombs.

It's easy to forget how much of travel is spent gazing - not at jaw-dropping monuments or museum exhibits - but out the dusty, scratched windows of boats, buses, planes, and trains.

Now that we have familiarized ourselves with the interface, next up are the PokéStops. PokéStops are points of interest on your map and can be found at historical markers, monuments and other important places near you. They are indicated with blue floating cubes. When you approach a PokéStop, it will change its look. When it’s within the radius of your character, tap the PokéStop to interact with it. Note that when the PokéStop is no longer in range you can no longer interact with it. For instance this could be the case if you are traveling in a vehicle.   After you have successfully opened up the PokéStop, swipe to use it. It will then give you multiple items covered in bubbles. Tap the bubbles to collect your items. You may also exit the PokéStop and you will be given your items instantly.   If you are below level 5, you will receive three to four items consisting of Poké Balls and Pokémon Eggs when activating a PokéStop. When you surpass level 5, PokéStops may give you up to six Poké Balls (including different types of Balls), as well as Revives and Potions. Once you have collected your items, the PokéStop will turn purple on your map and it cannot be used again for at least five minutes.   If you’re near or even right at your maximum capacity when interacting with a PokéStop, you will still receive experience and items and exceed your limit. You’ll now be above your maximum capacity and can no longer use PokéStops.

The traveler wishing to observe Islamic Spain has his choice of two cities, Granada with its Alhambra or Córdoba with its Great Mosque (in Spanish Mezquita). Of the two former is be a considerable degree the more exciting and also the easier to absorb for its buildings, gardens and geographic settings are immediately recognizable as significant. It would take a dull man to miss the point of Granada, for its Alhambra is a museum of Islamic memories.

All cultures teem with creativity, on display both via inconceivable monuments and in the flawless blend of two spices. I want to see the birthplace of all of it, the homes of humble geniuses who make our lives better, more interesting.

since it is the experience that gives traveling its value and not the traveling unto itself, you may want to focus on having adventures instead of just merely travel.  For example, I have individually “traveled” to: The Wind River mountain range in Lander, Wyoming. Dinosaur National Monument in Vernal, Utah. Canyonlands National Park in Moab, Utah. The Grand Canyon outside Williams, Arizona. And The Hoover Dam outside Las Vegas, Nevada. And each individual visit was fun and enjoyable in its own regard. But what I really want to do is raft the Green and Colorado Rivers, which connect all those locations above.  This will not only send me through the Flaming Gorge of Utah, but the confluence of the Green and Yampa Rivers in the canyons of Dinosaur Park, the heart of Canyonlands National Park, Lake Powell, the Grand Canyon, and inevitably a long paddle across Lake Meade to the Hoover Dam.  It will be a genuine, epic, Indiana Jones adventure that very few, if any people, have ever done.  And instead of a mere picture of the Hoover Dam or the Grand Canyon comfortably taken from a paved road, when my little nieces ask me, “What did you do, Uncle Aaron” I won't say, “I went to Paris and sat at a cafe.” I will say, “Uncle Aaron kayaked the whole damn Green and Colorado rivers from Wyoming to the Hoover Dam!”  This doesn't mean we all have to become Larry Ellison, sailing around the world or racing in regattas.  But having adventures as opposed to mere site seeing will add an inordinate amount of purpose and meaning to your life, not to mention a lot of fun.

First and foremost, the Desert of Glass is real. It has existed for thousands of years between Egypt and Libya and is believed by many to have mystical and unexplained powers. You can travel to Egypt and see it, and even take home a piece as a souvenir.

There’s still a lingering afterglow here from the euphoria earlier. A feeling that maybe some great victory has been won and there is a reason to be optimistic. On the other hand, I see a guy tying a hangman’s noose when I get closer to the monument. He grins maniacally as he ties it. “Traitors get the rope,” he says in a hollow, emotionless voice that sends chills down my spine. “Hey man, you’re gonna do whatever you want to do, I’m not going to try to stop you. I’m just gonna say that I think that might backfire.” I say, pointing at the tied rope in his hands. “I think that if anyone in the media sees that they’re gonna say it’s racist. I think you’re running the risk of making your whole movement look bad. This isn’t my fight, but you might want to think about that. OK, I spoke my piece.” There is a pause, he stares at me, his expression unreadable. “Traitors get the rope,” he says in a hollow, emotionless voice that sends chills down my spine. It’s like he’s a recording. He just says the exact same thing, in the exact same way, every time anyone tries to talk to him. Why do I even care if these people make themselves look bad? They’re not my people. At least some of them look bad because they are bad; right? Do I really think the guy with the hangman’s noose is just misunderstood? In my travels, I’ve seen many instances where the media was unfair to Trump supporters, but I’ve also met some damn creepy mother-f*ckers, especially in the last few weeks. Maybe the old protester in me just hates to see all this effort go into an anti-government demonstration and have nothing good come out of it.

How do I know I have lived? How can I be certain my days were not squandered? What criteria, which principles qualify life as lived? Certainly, I have endured trials and troubles, and I learned from life’s lessons. I grew wise as well as empathetic. But is edification and its accompanying traits the ultimate aim for living? I have traveled. Oh, I have seen marvelous wonders in this world. Skies that were artic blue, emerald green, soft lilac, and rosy red. Mountains fixed like monuments to the gods. Waters as clear as crystal, as blue as larimar, deeper than a leviathan’s lair, and as vast as the night’s sky. I have witnessed pyramids and castles, colosseums, great walls, and temples. Is this living? To travel, to see, to awe at the world’s aesthetic wonders? I have experienced great joys in my days: laughter, kindness, fun, love, thrills, successes. I have suffered a great many sorrows: sickness, loss, pain, cruelty, vengeance, disparagement. I have valued the good and abhorred the bad. Is this the ultimate feat of living? I have been actively doing: from sailing to flying, acting to singing, hiking to biking. I have dived, danced, drummed, battled, built, raced, and used my incredible body to perform every activity I desired. I gained strength and endurance in the process. Is this a sure sign of living? I have been part of a family and raised my own. I have formed lasting, loyal friendships that have passed the test of time. I have felt what it means to sacrifice for loved ones, shared in their joys and sorrows, prayed for tender mercies and miracles in their lives. I have loved and been loved in return. Is it connection to family and friends, the relationships developed between kindred, is this what it means to truly live? How do I know I have lived? As my days near an end, how can I be certain my life was worthwhile and not wasted? Did I accomplish what life mandates of those who truly live? What qualifies life as lived?

The second map is of Sardinia itself: the main island with its many islets. It is not a floating green mountain with a defining valley that splices along the south by southwest, as a topographical map would show. Instead, this map is as colorful as a neon strip of nightlife you might download on a cell phone for the latest cultural events. In fact, devised as a geoportal and online app by a volunteer organization called Nurnet in 2013, the map pinpoints the thousands of Neolithic and Bronze Age monuments across the islands with the fanfare of an open museum. As part of Nurnet’s mission to “promote a different image of Sardinia in the world,” the map is nothing less than astounding. If you actually illuminated all of these ancient monuments, from the Neolithic array of Stonehenge-like dolmens and menhir stone formations to the thousands of burial tombs, Bronze Age towers and complexes called nuraghes or nuraghi, the entire island would light up like a prehistoric hotspot. The vastness of the uninterrupted cycles of civilizations and their architectural marvels still standing today would be incomparable with any place in Europe on that first Mediterranean map. The Sardinians call it the “endless museum.

She loved good food and fine wine, jokes, and gossip. She kept a list of places she wanted to travel, monuments she longed to see.

It’s not surprising, with your father appearing to you, only on rue Mouffetard, not on the ramparts of a castle. But really, your Shakespeare knew all this, four hundred years ago, and all we have done since is make him into a monument and forget what he says.” I leaned to pour more wine into his glass. The two of us, naked and warm enough on a summer evening in front of open windows in a darkening room, our bodies drying after lovemaking, our secrets open to each other, the world opening up to our words, it seemed, becoming both more complex and more knowable as we talked. I thought, This is what I wanted, what I needed, and I didn’t know it. This is what I have been traveling toward. This openness, this sense of possibility, this ability to be still, in the present, and have the world fall open around me to be marveled at and understood. Yves said, “I believe that intuition and imagination are simply another way of thinking. You know, here in France, thinking has been so rational and scientific. It’s as if everything else has been marginalized. But when we create something, for instance, a work of art, a book, whatever it is, we are simply using a rapid and effective way of thinking.

I often refer to the great mythologist and American author Joseph Campbell (1904-1987) in this book. He used the designation of „hero“ to describe individuals who embark on the monumental psychological task of expanding and evolving consciousness and famously charted this journey. This hero‘s journey begins in our inherent state of blindness, separation, and suffering and progresses on a circular (as opposed to linear) route made up of stages shared by myths and legends spanning all cultures and epochs. From Buddha to Christ, Arjuna to Alice in Wonderland, the hero‘s journey is one of passing through a set of trials and phases: seeking adventure, encountering mentors, slaying demons, finding treasure, and returning home to heal others. Tibetan Buddhism‘s and Campbell‘s descriptions of the hero both offer a travel-tested road map of a meaningful life, a path of becoming fully human – we don‘t have to wander blindly, like college kids misguidedly hazed by a fraternity, or spiritual seekers abused in the thrall of a cult leader. The hero archetype is relevant to each of us, irrespective of our background, gender, temperament, or challenges, because we each have a hero gene within us capable of following the path, facing trials, and awakening for the benefit of others. Becoming a hero is what the Lam Rim describes as taking full advantage of our precious human embodiment. It‘s what Campbell saw as answering the call to adventure and following our bliss – not the hedonic bliss of chasing a high or acquiring more stuff, but the bliss of the individual soul, which, like a mountain stream, reaches and merges with the ocean of universal reality. (p. 15)

Many are the names that have been preserved for us in poetry from ancient times; but mountains crumble and rivers disappear, new roads replace the old, stones are buried and vanish in the earth, trees grow old and give way to saplings. Time passes and the world changes. The remains of the past are shrouded in uncertainty. And yet, here before my eyes was a monument which none would deny had lasted a thousand years. I felt as though I were looking into the minds of the men of old. "This", I thought, "is one of the pleasures of travelling and of living to be old." I forgot the weariness of my journey and was moved to tears by my joy.

Sometimes, still, I think of grief that way—as a vast, icy mountain, seemingly impossible to survive, so frigid the cold permeates your very bones, the depths of your soul. Each step takes a monumental effort, making any real headway seem insurmountable. And yet, if you raise your eyes to the horizon, looking with your heart as well as your eyes, you can see a tiny wisp of smoke rising from a cozy cabin where you will finally, finally find warmth. Hope. And if you have another who will take your hand, drag you when necessary, and travel through that unforgiving landscape, you will emerge through the trees, changed, yes, but together. Stronger. And when you turn your head and look back at the stark, sweeping vista from which you somehow emerged, you will know, deep down to the very core of yourself, that nothing, nothing is impossible when love is greater, more vast, more solid and immovable than the mountain itself.

Indians walk softly and hurt the landscape hardly more than the birds and squirrels, and their brush and bark huts last hardly longer than those of wood rats, while their more enduring monuments, excepting those wrought on the forests by the fires they made to improve their hunting grounds, vanish in a few centuries. How different are most of those of the white man, especially on the lower gold region—roads blasted in the solid rock, wild streams dammed and tamed and turned out of their channels and led along the sides of cañons and valleys to work in mines like slaves. Crossing from ridge to ridge, high in the air, on long straddling trestles as if flowing on stilts, or down and up across valleys and hills, imprisoned in iron pipes to strike and wash away hills and miles of the skin of the mountain's face, riddling, stripping every gold gully and flat. These are the white man's marks made in a few feverish years, to say nothing of mills, fields, villages, scattered hundreds of miles along the flank of the Range. Long will it be ere these marks are effaced, though Nature is doing what she

the old church where generations of my ancestors may have worshipped, where prayers had been spoken and hearts broken and healed, it all made sense for a small moment. Religion made sense, if only to add context to the struggle of life and death. The church was a monument to what had been, a connection to the past that comforted those in the present, and it comforted me. I climbed the slope beyond the church to where the cemetery stretched. It overlooked the spires and the winding road I’d just traveled. Some of the stones were tipped or sunken; some were so covered with lichen and time that I couldn’t make out names or dates. Other plots were new, lined by rocks and filled in with mementos. The newer plots,

Psychoanalysis: An Elegy" What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.

More red lights on top of the cars than on roads. Glamorous lifestyle coexisting with some underprivileged lives. Big showrooms on the left, begging kids on the right. Azaan from the mosque blending smoothly with the pleasant sound of temple bells. The modern travel miracle Delhi Metro passes by the ancient temples and monuments. Crowded streets coexist with lonely hearts. This city is like the most beautiful girl in a college. That is what I know about Delhi, the capital city of the nation.