Mortality (book) Quotes

It's not gray," Clary felt compelled to point out. "It's green." "If there was such a thing as terminal literalism, you'd have died in childhood," said Jace.

Humans, if nothing else, have the good sense to die.

There is not love of life without despair about life.

How can you tell? That I like books, I mean. The look on your face when you walked in, somehow I doubted you were that impressed by me.

We can buy you one of those books they have for little kids 'Timmy Has Two Dads'. Except I don't think they have one called 'Timmy Has Two Dads and One of Them Was Evil'. That part you're just going to have to work through on your own.

I'm not an angel, Jace," she repeated. "I don't return library books. I steal illegal music off the internet. I lie to my mom. I am completely ordinary.

Excellent. I've been told I have a lovely, melodic reading voice." He flipped the book open to the front page, where the title was printed in ornate script. Across from it was a long dedication, the ink faded now and barely legible, though Clary could make out the signature: With hope at last, William Herondale.

A pair of werewolves occupied another booth. They were eating raw shanks of lamb and arguing about who would win in a fight: Dumbledore from Harry Potter books or Magnus Bane. "Dumbledore would totally win," said the first one. "He has the badass Killing Curse." The second lycanthrope made a trenchant point. "But Dumbledore isn't real." "I don't think Magnus Bane is real either," scoffed the first. "Have you ever met him?" "This is so weird," said Clary, slinking down in her seat. "Are you listening to them?" "No. It's rude to eavesdrop," said Jace.

Falling in love is very real, but I used to shake my head when people talked about soul mates, poor deluded individuals grasping at some supernatural ideal not intended for mortals but sounded pretty in a poetry book. Then, we met, and everything changed, the cynic has become the converted, the sceptic, an ardent zealot.

The books are to remind us what asses and fool we are. They're Caeser's praetorian guard, whispering as the parade roars down the avenue, "Remember, Caeser, thou art mortal." Most of us can't rush around, talking to everyone, know all the cities of the world, we haven't time, money or that many friends. The things you're looking for, Montag, are in the world, but the only way the average chap will ever see ninety-nine per cent of them is in a book. Don't ask for guarantees. And don't look to be saved in any one thing, person, machine, or library. Do your own bit of saving, and if you drown, at least die knowing you were headed for shore.

O serpent heart, hid with a flowering face! Did ever dragon keep so fair a cave? Beautiful tyrant! fiend angelical! Dove-feather'd raven! wolvish-ravening lamb! Despised substance of divinest show! Just opposite to what thou justly seem'st, A damned saint, an honourable villain! O nature, what hadst thou to do in hell; When thou didst bower the spirit of a fiend In mortal paradise of such sweet flesh? Was ever book containing such vile matter So fairly bound? O that deceit should dwell In such a gorgeous palace!

You have a book that’s also a face?

Please,” Alec said, pulling out his stele. “I can read your face like a very open, very pornographic book. I wish I couldn’t.

Show me a god that does not demand mortal suffering. Show me a god that celebrates diversity, a celebration that embraces even non-believers, and is not threatened by them. Show me a god that understands the meaning of peace. In life, not in death.

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. Tis some visitor," I muttered, "tapping at my chamber door — Only this, and nothing more." Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; — vainly I had sought to borrow From my books surcease of sorrow — sorrow for the lost Lenore — For the rare and radiant maiden whom the angels name Lenore — Nameless here for evermore. And the silken sad uncertain rustling of each purple curtain Thrilled me — filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating, Tis some visitor entreating entrance at my chamber door — Some late visitor entreating entrance at my chamber door; — This it is, and nothing more." Presently my soul grew stronger; hesitating then no longer, Sir," said I, "or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you"— here I opened wide the door; — Darkness there, and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortals ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, "Lenore?" This I whispered, and an echo murmured back the word, "Lenore!" — Merely this, and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. Surely," said I, "surely that is something at my window lattice: Let me see, then, what thereat is, and this mystery explore — Let my heart be still a moment and this mystery explore; — 'Tis the wind and nothing more." Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door — Perched upon a bust of Pallas just above my chamber door — Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore. Though thy crest be shorn and shaven, thou," I said, "art sure no craven, Ghastly grim and ancient raven wandering from the Nightly shore — Tell me what thy lordly name is on the Night's Plutonian shore!" Quoth the Raven, "Nevermore." Much I marveled this ungainly fowl to hear discourse so plainly, Though its answer little meaning— little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blest with seeing bird above his chamber door — Bird or beast upon the sculptured bust above his chamber door, With such name as "Nevermore.

No killing,” Jordan said. “We’re trying to make you feel peaceful, so you don’t go up in flames. Blood, killing, war, those are all non-peaceful things. Isn’t there anything else you like? Rainforests? Chirping birds?” “Weapons,” said Jace. “I like weapons.” “I’m starting to think we have a problematic issue of personal philosophy here.” Jace leaned forward, his palms flat on the ground. “I’m a warrior,” he said. “I was brought up as a warrior. I didn’t have toys, I had weapons. I slept with a wooden sword until I was five. My first books were medieval demonologies with illuminated pages. The first songs I learned were chants to banish demons. I know what brings me peace, and it isn’t sandy beaches or chirping birds in rainforests. I want a weapon in my hand and a strategy to win.” Jordan looked at him levelly. “So you’re saying that what brings you peace … is war.” “Now you get it.

There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--

Responsibility to yourself means refusing to let others do your thinking, talking, and naming for you...it means that you do not treat your body as a commodity with which to purchase superficial intimacy or economic security; for our bodies to be treated as objects, our minds are in mortal danger. It means insisting that those to whom you give your friendship and love are able to respect your mind. It means being able to say, with Charlotte Bronte's Jane Eyre: "I have an inward treasure born with me, which can keep me alive if all the extraneous delights should be withheld or offered only at a price I cannot afford to give. Responsibility to yourself means that you don't fall for shallow and easy solutions--predigested books and ideas...marrying early as an escape from real decisions, getting pregnant as an evasion of already existing problems. It means that you refuse to sell your talents and aspirations short...and this, in turn, means resisting the forces in society which say that women should be nice, play safe, have low professional expectations, drown in love and forget about work, live through others, and stay in the places assigned to us. It means that we insist on a life of meaningful work, insist that work be as meaningful as love and friendship in our lives. It means, therefore, the courage to be "different"...The difference between a life lived actively, and a life of passive drifting and dispersal of energies, is an immense difference. Once we begin to feel committed to our lives, responsible to ourselves, we can never again be satisfied with the old, passive way.

Simon hid the fact that he was inordinately pleased by this. “Are we officially boyfriend and girlfriend? Is there a Shadowhunter ritual? Should I change my Facebook status from ‘it’s complicated’ to ‘in a relationship’?” Isabelle screwed up her nose adorably. “You have a book that’s also a face?

It was hidden inside another book. One Valentine was unlikely to ever open." Magnus smiled crookedly. "Simple Recipes for Housewives. No one can say your mother didn't have a sense of humor.

I can see why you like it here," he said,making a sweeping gesture that encompassed Kyle's collection of movie posters and science fiction books. "There's a thin layer of nerd all over everything." said Jace. "Thanks. I appreciate that." Simon gave Jace a hard look.

The history of music is mortal, but the idiocy of the guitar is eternal.

You may be the only guy my age I've ever met who knows what bergamot is, much less that it's in Earl Grey tea." "Yes, well," Jace said, with a supercilious look, "I'm not like other guys. Besides," he added, flipping a book off the shelf, "at the Institute we have to take classes in basic medicinal uses for plants. It's required." "I figured all your classes were stuff like Slaughter 101 and Beheading for Beginners." Jace flipped a page. "Very funny, Fray.

If you never tell anyone the truth about yourself, eventually you start to forget.

I'm not a prophet or a stone aged man Just a mortal with potential of a superman I'm living on. -Quicksand

Mene mene tekel upsharin,' Jace said with a faint smile. 'You don't recognize it? It's from the Bible, vampire. The old one. That's your book, isn't it?' Just because I'm Jewish doesn't mean I've memorized the Old Testament.' It's the Writing on the Wall. "God hath numbered thy kingdom, and brought it to an end; thou art weighed in the balance and found wanting." It's a portent of doom--it means the end of an empire.

Snake Street is an area I should avoid. Yet that night I was drawn there as surely as if I had an appointment.  The Snake House is shabby on the outside to hide the wealth within. Everyone knows of the wealth, but facades, like the park’s wall, must be maintained. A lantern hung from the porch eaves. A sign, written in Utte, read ‘Kinship of the Serpent’. I stared at that sign, at that porch, at the door with its twisted handle, and wondered what the people inside would do if I entered. Would they remember me? Greet me as Kin? Or drive me out and curse me for faking my death?  Worse, would they expect me to redon the life I’ve shed? Staring at that sign, I pissed in the street like the Mearan savage I’ve become. As I started to leave, I saw a woman sitting in the gutter. Her lamp attracted me. A memsa’s lamp, three tiny flames to signify the Holy Trinity of Faith, Purity, and Knowledge.  The woman wasn’t a memsa. Her young face was bruised and a gash on her throat had bloodied her clothing. Had she not been calmly assessing me, I would have believed the wound to be mortal. I offered her a copper.  She refused, “I take naught for naught,” and began to remove trinkets from a cloth bag, displaying them for sale. Her Utte accent had been enough to earn my coin. But to assuage her pride I commented on each of her worthless treasures, fighting the urge to speak Utte. (I spoke Universal with the accent of an upper class Mearan though I wondered if she had seen me wetting the cobblestones like a shameless commoner.) After she had arranged her wares, she looked up at me. “What do you desire, O Noble Born?” I laughed, certain now that she had seen my act in front of the Snake House and, letting my accent match the coarseness of my dress, I again offered the copper.  “Nay, Noble One. You must choose.” She lifted a strand of red beads. “These to adorn your lady’s bosom?”             I shook my head. I wanted her lamp. But to steal the light from this woman ... I couldn’t ask for it. She reached into her bag once more and withdrew a book, leather-bound, the pages gilded on the edges. “Be this worthy of desire, Noble Born?”  I stood stunned a moment, then touched the crescent stamped into the leather and asked if she’d stolen the book. She denied it. I’ve had the Training; she spoke truth. Yet how could she have come by a book bearing the Royal Seal of the Haesyl Line? I opened it. The pages were blank. “Take it,” she urged. “Record your deeds for study. Lo, the steps of your life mark the journey of your soul.”   I told her I couldn’t afford the book, but she smiled as if poverty were a blessing and said, “The price be one copper. Tis a wee price for salvation, Noble One.”   So I bought this journal. I hide it under my mattress. When I lie awake at night, I feel the journal beneath my back and think of the woman who sold it to me. Damn her. She plagues my soul. I promised to return the next night, but I didn’t. I promised to record my deeds. But I can’t. The price is too high.

There is something profoundly cynical, my friends, in the notion of paradise after death. The lure is evasion. The promise is excusative. One need not accept responsibility for the world as it is, and by extension, one need do nothing about it. To strive for change, for true goodness in this mortal world, one must acknowledge and accept, within one's own soul, that this mortal reality has purpose in itself, that its greatest value is not for us, but for our children and their children. To view life as but a quick passage alone a foul, tortured path – made foul and tortured by our own indifference – is to excuse all manner of misery and depravity, and to exact cruel punishment upon the innocent lives to come. I defy this notion of paradise beyond the gates of bone. If the soul truly survives the passage, then it behooves us – each of us, my friends – to nurture a faith in similitude: what awaits us is a reflection of what we leave behind, and in the squandering of our mortal existence, we surrender the opportunity to learn the ways of goodness, the practice of sympathy, empathy, compassion and healing – all passed by in our rush to arrive at a place of glory and beauty, a place we did not earn, and most certainly do not deserve.

Never, dear gods. Never mess with mortals.

You are a half-blood," Zoe Nightshade said. Her accent was hard to place. It sounded old-fashioned, like she was reading from a really old book. "One of thy parents was mortal. The other was an Olympian." "An Olympian athlete?" "No," Zoe said. "One of the gods." "Cool!" said Nico.

I cannot waste time in these classes and these books, memorizing the weak assumptions of lesser mortals.

It's the sorrow you feel that allows you to crave love. Without the suffering, there would be no true pleasure. Without tears, no joy. Without deficiency, no longing. This is the secret of the human heart, Rom.

She threw the door open. The room seemed to be a sort of library, the walls lined with books. It was brightly lit, light streaming through a tall picture window. In the middle of the room stood Jace. He wasn't alone, though-not by a long shot. There was a dark-haired girl with him, a girl Clary had never seen before, and the two of them were locked together in a passionate embrace

A book that one has not read yet is always more exciting than a book one has memorized.

A precondition for reading good books is not reading bad ones: for life is short.

The books were a private part of me that I carried inside and guarded and didn't talk to anybody about; as long as I had the books I could convince myself I was different from the others and my life wasn't quite as stupid and pointless.

Show me the books he loves and I shall know the man far better than through mortal friends.

Wage war on death. Live for love.

He chose The Metamorphosis over The Trial, he chose Bartleby over Moby-Dick, he chose A Simple Heart over Bouvard and Pecuchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

the more she read, the more she came to understand the fears and the dreams of mortals. The trouble they all had living in the moment, in spite of the fact that the moment was all they had.

You are not your body. You are the sum of all your actions, and they live on after your body dies. You may be mortal, but your brand is eternal.

Without turning, the pharmacist answered that he liked books like The Metamorphosis, Bartleby, A Simple Heart, A Christmas Carol. And then he said that he was reading Capote's Breakfast at Tiffany's. Leaving aside the fact that A Simple Heart and A Christmas Carol were stories, not books, there was something revelatory about the taste of this bookish young pharmacist, who ... clearly and inarguably preferred minor works to major ones. He chose The Metamorphosis over The Trial, he chose Bartleby over Moby Dick, he chose A Simple Heart over Bouvard and Pecouchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze a path into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

The venerable dead are waiting in my library to entertain me and relieve me from the nonsense of surviving mortals.

One thought I think every person eventually thinks is, “Holy shit, I’m going to die!” Sorry, I just turned thirty yesterday, so my mortality is on my mind.


But Jace", Clary said. "Valentine taught him more than just fighting. He taught him languages, and how to play the piano" "That was Jocelyn's influence." Sebastian said her name unwillingly, as if he hated the sound of it. "She thought Valentine ought to be able to talk about books, art, music...not just killing things. He passed that on to Jace." A wrought iron blue gate rose to their left. Sebastian ducked under it and beckoned Clary to follow him. She didn't have to duck but went after him, her hands stuffed into her pockets. "What about you?" she asked. He held up his hands. They were unmistakably her mother's hands - dexterous, long-fingered, meant for holding a brush or a pen. "I learned to play the instruments of war, " he said, "and paint in blood. I am not like Jace.

Cattle die kinsmen die all men are mortal. Words of praise will never perish nor a noble name. - The Havamal; Book of Viking Wisdom

Mortals don't understand life is not a book you close only after you read the last page. There is no last page in the Book of Life, for the last one is always the first page of another story.

All you who are in love Aye and can not remove it I pity the pain that you endure. For experience lets me know That your hearts are filled with woe It's a woe that no mortal can cure. -"the Curragh of Kildare

It is when we are faced with death that we turn most bookish.

mortal enemies with benefits

Because I finally can,” Sebastian said. “You’ve no idea what it’s been like, being around the lot of you these past few days, having to pretend I could stand you. That the sight of you didn’t make me sick. You,” he said to Jace, “every second you’re not panting after your own sister, you’re whining on and on about how your daddy didn’t love you. Well, who could blame him? And you, you stupid bitch”—he turned to Clary—“giving that priceless book away to a half-breed warlock; have you got a single brain cell in that tiny head of yours?

Keep your words. This pain is no life." "You only feel pain because you're alive, boy!" the keeper thundered. "This is the mystery of it. Life is lived on the ragged edge of the cliff. Fall off and you might die, but run from it and you are already dead!

And Nephilim—we tend to love very overwhelmingly. To fall in love only once, to die of grief over love—my old tutor used to say that the hearts of the Nephilim were like hearts of angels: They felt every human pain, and never healed.

Your faces are very beautiful, but they are wooden cages. You had better run from me. My words are fire.

And perhaps that is the final, most devastating truth. The gods care nothing for ascetic impositions on mortal behaviour. Care nothing for rules of conduct, for the twisted morals of temple priests and monks. Perhaps indeed they laugh at the chains we wrap around ourselves – our endless, insatiable need to find flaws within the demands of life. Or perhaps they do not laugh, but rage at us. Perhaps our denial of life’s celebration is our greatest insult to those whom we worship and serve.

The bud stands for all things, even for those things that don’t flower, for everything flowers, from within, of self-blessing; though sometimes it is necessary to reteach a thing its loveliness, to put a hand on its brow of the flower and retell it in words and in touch it is lovely until it flowers again from within, of self-blessing

How does a mortal make answer to what his or her kind are capable of? Does each of us, soldier or no, reach a point when all that we’ve seen, survived, changes us inside? Irrevocably changes us. What do we become, then? Less human, or more human? Human enough, or too human?

While life is meant to test, challenge, and strengthen us, if we are attempting to negotiate the twists and turns and ups and downs of mortality alone, we're doing it all wrong. Mortality is a test, but it is an open book test. We have access not only to the divine text but to Him who authored it.

But sometimes imperfect tools lead us toward perfect ends.

The old Paris is no more (the form of a city changes faster, alas! than a mortal's heart).

As a mere mortal with thirty years of earthly wanderings, I have found books to be the most significant of my findings.

But we do need a breather. We do need knowledge. And perhaps in a thousand years we might pick smaller cliffs to jump off. The books are to remind us what asses and fools we are. They’re Caesar’s praetorian guard, whispering as the parade roars down the avenue, ‘Remember, Caesar, thou art mortal.’ Most of us can’t rush around, talk to everyone, know all the cities of the world, we haven’t time, money or that many friends. The things you’re looking for, Montag, are in the world, but the only way the average chap will ever see ninety-nine per cent of them is in a book.

Jocelyn recognized reading as a sacred pastime and usually wouldn't interrupt Clary in the middle of a book, even to yell at her.

So furiously each other did assayle, As if their soules they would attonce haue rent Out of their brests, that streames of bloud did rayle Adowne, as if their springes of life were spent; That all the ground with purple bloud was sprent, And all their armours staynd with bloudie gore, Yet scarcely once to breath would they relent, So mortall was their malice and so sore, Become of fayned friendship which they vow'd afore.

Show me a mortal who is not pursued, and I’ll show you a corpse. Every hunter is hunted, every mind that knows itself has stalkers. We drive and are driven. The unknown pursues the ignorant, the truth assails every scholar wise enough to know his ignorance, for that is the meaning of unknowable truths.

He smiled faintly, like somebody who had never seen a smile, but had read a book on how to do it.

trying to read his face. It was like a book written in a foreign language she'd studied all too briefly.

And, lastly, to every stranger who didn’t call the cops on me when I asked them “What would you do if you found out you were about to die?” None of your answers inspired anything in this book, but wasn’t it absolutely fun having a stranger make you observe your mortality?

I am a book. Sheaves pressed from the pulp of oaks and pines a natural sawdust made dingy from purses, dusty from shelves. Steamy and anxious, abused and misused, kissed and cried over, smeared, yellowed, and torn, loved, hated, scorned. I am a book. I am a book that remembers, days when I stood proud in good company When the children came, I leapt into their arms, when the women came, they cradled me against their soft breasts, when the men came, they held me like a lover, and I smelled the sweet smell of cigars and brandy as we sat together in leather chairs, next to pool tables, on porch swings, in rocking chairs, my words hanging in the air like bright gems, dangling, then forgotten, I crumbled, dust to dust. I am a tale of woe and secrets, a book brand-new, sprung from the loins of ancient fathers clothed in tweed, born of mothers in lands of heather and coal soot. A family too close to see the blood on its hands, too dear to suffering, to poison, to cold steel and revenge, deaf to the screams of mortal wounding, amused at decay and torment, a family bred in the dankest swamp of human desires. I am a tale of woe and secrets, I am a mystery. I am intrigue, anxiety, fear, I tangle in the night with madmen, spend my days cloaked in black, hiding from myself, from dark angels, from the evil that lurks within and the evil we cannot lurk without. I am words of adventure, of faraway places where no one knows my tongue, of curious cultures in small, back alleys, mean streets, the crumbling house in each of us. I am primordial fear, the great unknown, I am life everlasting. I touch you and you shiver, I blow in your ear and you follow me, down foggy lanes, into places you've never seen, to see things no one should see, to be someone you could only hope to be. I ride the winds of imagination on a black-and-white horse, to find the truth inside of me, to cure the ills inside of you, to take one passenger at a time over that tall mountain, across that lonely plain to a place you've never been where the world stops for just one minute and everything is right. I am a mystery. -Rides a Black and White Horse

I reminded myself: when a book lies unopened it might contain anything in the world, anything imaginable. It therefore, in that pregnant moment before opening, contains everything. Every possibility, both perfect and putrid. Surely such mysteries are the most enticing things You grant us in this mortal mere -- the fruit in the garden, too, was like this. Unknown, and therefore infinite. Eve and her mate swallowed eternity, every possible thing, and made the world between them.

But what was possible or practical had been replaced by a far baser impulse. Hope.

I could not do it. I would not do it. I sat back on my heels with the book in my hand with the light of the fire flickering and dying down and realized that not even in mortal danger could I bring myself to burn a book.

I love the imagery of struggle. I sometimes wish I were suffering in a good cause, or risking my life for the good of others, instead of just being a gravely endangered patient. Allow me to inform you, though, that when you sit in a room with a set of other finalists, and kindly people bring a huge transparent bag of poison and plug it into your arm, and you either read or don't read a book while the venom sack gradually empties itself into your system, the image of the ardent solider is the very last one that will occur to you. You feel swamped with passivity and impotence: dissolving in powerlessness like a sugar lump in water.

Osiris became the type and symbol of resurrection among the Egyptians of all periods, because he was a god who had been originally a mortal and had risen from the dead.

When a group of people get up from a table, the table doesn’t know which way any of them will go.

The existance of many gods conveys true complexity of mortal life. Conversely, the assertion of but one god leads to a denial of complexity, and encourages the need to maek the world simple. Not the fault of the god, but a crime commited by its believers.

Not at all, I just don't understand how the Arch Alchemist became mortal all of a sudden." "Because he split his soul into seven pieces and hid them all over Justice City," Toby retorted. "You turned our comic book into a Harry Potter rip-off?" I spluttered.

I want it to smell of magnolias instead of peanuts and I want my shoes to crunch on the same gravel that Lee's boots crunched on. There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--

I've read Reverend Kirk, in fact. My uncle's library has quite a few books of your people. I have read Mr. Lang's fairy tales as well. (Katherine Rae O'Flaherty) "Books are not the same as reality," Devlin stared at her. "My world is not always kind to mortals.

There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses - bound for dust - mortal.

Is that all we mortals are? The victims of tortured irony to amuse an insane murder of gods? A murder of crows, a murder of gods-I like that, lass.

There are some things you never forget. The runes of the Book are more than illustrations. They become part of you. Part of your skin. Being a Shadowhunter never leaves you. It’s a gift that’s carried in your blood, and you can no more change it than you can change your blood type.

The odor of bowel wind is known to every human, but the fragrance of book glue has crossed only a fraction of mortal nostrils. And yet it behooves us not to judge the unlettered too harshly. We must stay the impulse to write CHUCKLEHEAD above their doors and carve DOLT upon their tombstones.

The sun hides not the ocean, which is the dark side of this earth, and which is two thirds of this earth. So, therefore, that mortal man who hath more of joy than sorrow in him, that mortal man cannot be true-- not true, or undeveloped. With books the same. The truest of all men was the Man of Sorrows, and the truest of all books is Solomon’s, and Ecclesiastes is the fine hammered steel of woe.

You are living as if destined to live for ever; your own frailty never occurs to you; you don't notice how much time has already passed, but squander it as though you had a full and overflowing supply - though all the while that very day which you are devoting to somebody or something may be your last. You act like mortals in all that you fear, and like immortals in all that you desire.

Do you know the rest?"Doug asked me expectantly. "What?The Achilles was a dysfuctional psychopath? Yeah I know that." "Well, yeah, everyone knows that. I mean the really cool part. About Thetis and Peleus." I shook my head, and he continued, professor-like, "Thetis was a sea mymph, and Peleus was a mortal who loved her. Only, when he went to woo her, she was a real bitch about it." "How so?" "She was a shape-shifter." I nearly dropped the book. "What?" Doug nodded. "He approached her, and she turned into all sorts of shit to scare him off - wild animals, forces of natures, monsters, whatever." "What... what'd he do?" "He held on. Grabbed her and wouldn't let go through all of those terrible transformations. No matter what she turned into, he just held on.

Play on, mortal. Every god falls at a mortal’s hands. Such is the only end to immortality.

Clary was trying not to think about the fact that it had been three days since she'd seen Magnus, and he'd sent no word at all. Or the fact that there was really nothing stopping him from taking the Book of the White and disappearing into the ether, never to be heard from again. She wondered why she'd ever thought trusting who wore that much eye-liner was a good idea.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

Колко лесно можеш да загубиш нещо, което винаги си считал за даденост.

Death is every mortal’s shadow, his true shadow, and time is its servant, spinning that shadow slowly round, until what stretched behind one now stretches before him.

Every time you rip the bandages off, you just open the wound up again. Every time he sees you, it's like tearing off the bandages.

Barristan Semly was not a bookish man, but he had often glanced through the pages of the White Book, where the deeds of his predecessors had been recorded. Some had been heroes, some weaklings, knaves, or cravens. Most were only men - quicker and stronger than most, more skilled with sword and shield, but still prey to pride, ambition, lust, love, anger, jealousy, greed for gold, hunger for power, and all the other failing that afflicted lesser mortals. The best of them overcame their flaws, did their duty, and died with their swords in their hands. The worst ... The worst were those who played the game of thrones.

In books I meet the dead as if they were alive in books I see what is yet to come... All things decay and pass in time... All fame would fall into oblivion if God had not given mortal men the book to aid them

Among the Rhivi of North Genabackis, there was a saying. A man who stirs awake the serpent is a man without fear. A man without fear has forgotten the rules of life. Silanah heard their songs and prayers. And she watched. Sometimes mortals did indeed forget. Sometimes, mortals needed… reminding.

It was at this time that people found along the roads and highways little children, tiny vagabonds who refused to grow up. Little girls of seven years knelt and prayed that they might not grow older, for puberty seemed to them a sign of mortality.

That mortal man who hath more of joy than sorrow in him, that mortal man cannot be true — not true, or undeveloped. With books the same. The truest of all men was the Man of Sorrows, and the truest of all books is Solomon’s, and Ecclesiastes is the fine hammered steel of woe. “All is vanity.” ALL. This wilful world hath not got hold of unchristian Solomon’s wisdom yet.

We human beings build houses because we're alive but we write books because we're mortal. We live in groups because we're sociable but we read because we know we're alone. Reading offers a kind of companionship that takes no one's place but that no one can replace either. It offers no definitive explanation of our destiny but links us inextricably to life. Its tiny secret links remind us of how paradoxically happy we are to be alive while illuminating how tragically absurd life is.

This never happens again," I said quietly. "You try to get to me through other mortals again and I'll kill you." Mavra's rotted lips turned up at one corner. "No, you won't," she said in her dusty voice. "You don't have that kind of power." "I can get it," I said. "But you won't," she responded, mockery in her tone. "It wouldn't be right." I stared at her for a full ten seconds before I said, in a very quiet voice, "I've got a fallen angel tripping all over herself to give me more power. Queen Mab has asked me to take the mantle of Winter Knight twice now. I've read Kemmler's book. I know how the Darkhallow works. And I know how to turn necromancy against the Black Court." Mavra's filmed eyes flashed with anger. I continued to speak quietly, never raising my voice. "So once again, let me be perfectly clear. If anything happens to Murphy and I even think you had a hand in it, fuck right and wrong. If you touch her, I'm declaring war on you. Personally. I'm picking up every weapon I can get. And I'm using them to kill you. Horribly.

You are not to take it, if you please, as the saying of an ignorant man, when I express my opinion that such a book as ROBINSON CRUSOE never was written, and never will be written again. I have tried that book for years—generally in combination with a pipe of tobacco—and I have found it my friend in need in all the necessities of this mortal life. When my spirits are bad—ROBINSON CRUSOE. When I want advice—ROBINSON CRUSOE. In past times when my wife plagued me; in present times when I have had a drop too much—ROBINSON CRUSOE. I have worn out six stout ROBINSON CRUSOES with hard work in my service. On my lady's last birthday she gave me a seventh. I took a drop too much on the strength of it; and ROBINSON CRUSOE put me right again. Price four shillings and sixpence, bound in blue, with a picture into the bargain.

Fiddler briefly wondered about those three dragons - where they had gone, what tasks awaited them - then he shrugged. Their appearance, their departure and, in between and most importantly, their indifference to the four mortals below was a sobering reminder that the world was far bigger than that defined by their own lives, their own desires and goals. The seemingly headlong plunge this journey had become was in truth but the smallest succession of steps, of no greater import than the struggles of a termite. The worlds live on, beyond us, countless unravelling tales. In his mind's eye he saw his horizons stretch out on all sides, and as they grew ever vaster he in turn saw himself as ever smaller, ever more insignificant. We are all lone souls. It pays to know humility, lest the delusion of control, of mastery, overwhelms. And indeed, we seem a species prone to that delusion, again and ever again ...

Don’t carry the weight of the world on you Jace. It’s too heavy for even a Herondale to bear.

The books are to remind us what asses and fools we are. They're Caesar's praetorian guard, whispering as the parade roars down the avenue, `Remember, Caesar, thou art mortal.

I have tried to teach you the wonders of the spiritual world... ...I have tried to show how we mortals can attain such wisdom... ...and I've decided you're a pillock. [click on the thumbnail, art by Andrew Christine]

Horror is not unimaginable, it has neither the face of a monster nor the bat-wings of a demon. It is calm and tranquil, and it is durable, lasting whole days and nights, months; years, perhaps. It is not mortal. It strikes at the eyes, only the eyes.

I was born mortal, and I have been immortal for a long, foolish time, and one day I will be mortal again; so I know something that a unicorn cannot know. Whatever can die is beautiful--more beautiful than a unicorn, who lives forever, and who is the most beautiful creature in the world.

The night before brain surgery, I thought about death. I searched out my larger values, and I asked myself, if I was going to die, did I want to do it fighting and clawing or in peaceful surrender? What sort of character did I hope to show? Was I content with myself and what I had done with my life so far? I decided that I was essentially a good person, although I could have been better--but at the same time I understood that the cancer didn't care. I asked myself what I believed. I had never prayed a lot. I hoped hard, I wished hard, but I didn't pray. I had developed a certain distrust of organized religion growing up, but I felt I had the capacity to be a spiritual person, and to hold some fervent beliefs. Quite simply, I believed I had a responsibility to be a good person, and that meant fair, honest, hardworking, and honorable. If I did that, if I was good to my family, true to my friends, if I gave back to my community or to some cause, if I wasn't a liar, a cheat, or a thief, then I believed that should be enough. At the end of the day, if there was indeed some Body or presence standing there to judge me, I hoped I would be judged on whether I had lived a true life, not on whether I believed in a certain book, or whether I'd been baptized. If there was indeed a God at the end of my days, I hoped he didn't say, 'But you were never a Christian, so you're going the other way from heaven.' If so, I was going to reply, 'You know what? You're right. Fine.' I believed, too, in the doctors and the medicine and the surgeries--I believed in that. I believed in them. A person like Dr. Einhorn [his oncologist], that's someone to believe in, I thought, a person with the mind to develop an experimental treatment 20 years ago that now could save my life. I believed in the hard currency of his intelligence and his research. Beyond that, I had no idea where to draw the line between spiritual belief and science. But I knew this much: I believed in belief, for its own shining sake. To believe in the face of utter hopelessness, every article of evidence to the contrary, to ignore apparent catastrophe--what other choice was there? We do it every day, I realized. We are so much stronger than we imagine, and belief is one of the most valiant and long-lived human characteristics. To believe, when all along we humans know that nothing can cure the briefness of this life, that there is no remedy for our basic mortality, that is a form of bravery. To continue believing in yourself, believing in the doctors, believing in the treatment, believing in whatever I chose to believe in, that was the most important thing, I decided. It had to be. Without belief, we would be left with nothing but an overwhelming doom, every single day. And it will beat you. I didn't fully see, until the cancer, how we fight every day against the creeping negatives of the world, how we struggle daily against the slow lapping of cynicism. Dispiritedness and disappointment, these were the real perils of life, not some sudden illness or cataclysmic millennium doomsday. I knew now why people fear cancer: because it is a slow and inevitable death, it is the very definition of cynicism and loss of spirit. So, I believed.

The true use of Shakespeare or of Cervantes, of Homer or of Dante, of Chaucer or of Rabelais, is to augment one’s own growing inner self. Reading deeply in the Canon will not make one a better or a worse person, a more useful or more harmful citizen. The mind’s dialogue with itself is not primarily a social reality. All that the Western Canon can bring one is the proper use of one’s own solitude, that solitude whose final form is one’s confrontation with one’s own mortality.   W

Clary raised her eyebrows at Jace. "You hate bergamot?" Jace had wandered over to the narrow bookshelf and was examining its contents. "You have a problem with that?" "You may be the only guy my age I've ever met who knows what bergamot is, much less that it's in Earl Grey tea." "Yes, well," Jace said, with a supercilious look, "I'm not like other guys. Besides," he added, flipping a book off the shelf, "at the Institute we have to take classes in basic medicinal uses for plants. It's required." "I figured all your classes were stuff like Slaughter 101 and Beheading for Beginners.

This book carries the urgency of racing against time, of having important things to say. Paul confronted death—examined it, wrestled with it, accepted it—as a physician and a patient. He wanted to help people understand death and face their mortality.

Mortals were such fickle creatures. They called into the dark, demanded answers and attention from forces they could not comprehend, and yet when they had that attention and those answers, they complained about them.

In fact, when I finally shuffle off this mortal coil, you will have to pry a book out of my cold, dead hands.

Monuments make momentous men immortal, but more memorable are mortal men making mere moments monumental.

I took ‘em because nobody else had found ‘em yet. I brought ‘em here ta be protected from mortals that didn’t know the kinda power they once had, that might try ta unlock it again.

When a book lies unopened it might contain anything in the world, anything imaginable. It therefore, in that pregnant moment before opening, contains everything. Every possibility, both perfect and putrid. Surely such mysteries are the most enticing things...grant[ed] us in this mortal mere...Unknown and therefore infinite.

They consider themselves masters at cheating. But then, I think this will be the first time that they sit at a table with mortal humans facing them. Cheating? When it comes to that, the Elder Gods are as children compared to humans. Since the time of my return, this much at least I have learned.

If you can read this, then surprise! You're probably a demigod too. That's because only demigods - and a few special mortals, like my mom and Rachel Elizabeth Dare - can read what's actually written here. To everyone else, this book is called The Complete History of Pavement and it's about ... well, that should be obvious. You can thank the Mist for that choice of topic.

No. I hear you say the word, as if I sat in the room beside you. I see you, bent over the tome in your hand with a frown on your face and a curse on your lips, as if I were puddled in the shadow at your feet. The realization that there are no more pages is sinking in now. I hear it. I see it. No, you say again. What of Mia and Jonnen? Of Scaeva? Mercurio and Ashlinn and Tric? The secrets of the darkin? The Crown of the Moon? I promised ruins in her wake. Pale light glittering on waters that drank a city of bridges and bones. All these questions unanswered, and yet the book is at its end? No, you say. It cannot end like that. Fear not, little mortal. The song is not yet sung. This is but the calm before the crescendo. This tale is only two of three. Birth. And life. And death. So patience, gentlefriends. Patience. Close your eyes. Take my hand. And walk with me.

You'll have to learn to control your emotions. They're new, like achild's now, bursting with passion. Never let them fade, or part of you will die. But they cal also destroy you. Hold them dear, but don't let them take hold of you.

When we hear the ancient bells growling on a Sunday morning we ask ourselves: Is it really possible! This, for a jew, crucified two thousand years ago, who said he was God's son? The proof of such a claim is lacking. Certainly the Christian religion is an antiquity projected into our times from remote prehistory; and the fact that the claim is believed - whereas one is otherwise so strict in examining pretensions - is perhaps the most ancient piece of this heritage. A god who begets children with a mortal woman; a sage who bids men work no more, have no more courts, but look for the signs of the impending end of the world; a justice that accepts the innocent as a vicarious sacrifice; someone who orders his disciples to drink his blood; prayers for miraculous interventions; sins perpetrated against a god, atoned for by a god; fear of a beyond to which death is the portal; the form of the cross as a symbol in a time that no longer knows the function and ignominy of the cross -- how ghoulishly all this touches us, as if from the tomb of a primeval past! Can one believe that such things are still believed?

Pity the fool who thinks the boundaries of his mortal mind are the boundaries of God the Almighty. Pity the ignorant who assume they can negotiate and settle debts with God. Do such people think God is a grocer who attempts to weigh our virtues and our wrongdoings on two separate scales? Is He a clerk meticulously writing down our sins in His accounting book so as to make us pay Him back someday? Is this their notion of Oneness?

In books I meet the dead as if they were alive, in books I see what is yet to come... All things decay and pass with time... all fame would fall victim to oblivion if God had not given mortal men the book to aid them.

What hope is here for modern rhyme To him, who turns a musing eye On songs, and deeds, and lives, that lie Foreshorten'd in the tract of time? These mortal lullabies of pain May bind a book, may line a box, May serve to curl a maiden's locks; Or when a thousand moons shall wane A man upon a stall may find, And, passing, turn the page that tells A grief, then changed to something else, Sung by a long-forgotten mind. But what of that? My darken'd ways Shall ring with music all the same; To breathe my loss is more than fame, To utter love more sweet than praise.

The beauty of fantasy is that it allows the protagonist to pass through fear to come to know this different reality and to find a place in it.

You are a great deal of trouble, Jace herondale. “So I’ve been told” jace said

You couldn’t make someone love you with a rune, and you couldn’t assuage grief with it either. So much magic, Clary thought, and nothing to mend a broken heart.

When life ends it's like a book losing pages or a song skipping. It's abrupt and it doesn't make sense.

I got mixed up with some oddness in my youth, and the long and short of it is that I can't shuffle off this mortal coil until I have read the ten most boring classics.

Una mujer mediocre es como un libro malo: hacen dudar de la literatura entera, de lo femenino universal

There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses—bound for dust—mortal—

Yes, I drank some of the ancient blood and it changed me. If I'm right...If the vellum is right, the world is dead. Everyone! But I was brought back to life by the blood.

there's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--" a small boy appeared beside them and, swinging a handful of banana peels, flung them valiantly in the direction of the potomac.

No doubt my books too, like my mortal being, would eventually die, one day. But one has to resign oneself to dying. One accepts the thought that in ten years oneself, in a hundred years one's books, will not exist. Eternal duration is no more promised to books than it is to men.

The title was Alice’s Adventures in Wonderland & Through the Looking Glass. He frowned at it in confusion. It wasn’t what he’d thought a mortal book would be like; he thought they would be dull things, odes to their cars or skyscrapers.

I leaned forward with my elbows on my knees and her book in my hands. Like a lot of things in my life, I'd just about worn it out, but it was worn out with love, and that's the best kind of worn-out there is. Maybe we're like all those used cars, broken hand tools, articles of old clothing, scratched record albums, and dog-eared books. Maybe there really isn't any such thing as mortality; that life simply wears us out with love.

The to-read pile is more than just a physical stack of books: it's a tower of ambitions failed, hopes unrealised, good intentions unfulfilled. Worse still, it's a cold hard reminder of mortality. Already, I have intentions to read more books than I can hope to manage in a normal lifetime. How will this pile of books taunt me when I'm 64?

Now because 18 months ago the first dawn, 3 months ago broad daylight but a very few days ago the full sun of the most highly remarkable spectacle has risen — nothing holds me back. I can give myself up to the sacred frenzy, I can have the insolence to make a full confession to mortal men that I have stolen the golden vessel of the Egyptians to make from them a tabernacle for my God far from the confines of the land of Egypt. If you forgive me I shall rejoice; if you are angry, I shall bear it; I am indeed casting the die and writing the book, either for my contemporaries or for posterity to read, it matters not which: let the book await its reader for a hundred years; God himself has waited six thousand years for his work to be seen.

Todd, trust math. As in Matics, Math E. First-order predicate logic. Never fail you. Quantities and their relation. Rates of change. The vital statistics of God or equivalent. When all else fails. When the boulder's slid all the way back to the bottom. When the headless are blaming. When you do not know your way about. You can fall back and regroup around math. Whose truth is deductive truth. Independent of sense or emotionality. The syllogism. The identity. Modus Tollens. Transitivity. Heaven's theme song. The night light on life's dark wall, late at night. Heaven's recipe book. The hydrogen spiral. The methane, ammonia, H2O. Nucleic acids. A and G, T and C. The creeping inevibatility. Caius is mortal. Math is not mortal. What it is is: listen: it's true.

What a sad paradox, though Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze the path into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

This one,' said the hooded man, 'resists sorcery, Cotillion. Though his blood is old, I wonder, will all mortals one day be like him? An end to miracles. Nothing but dull, banal existence, nothing but mundane absence of wonder.' The cane jabbed. 'A world of bureaucrats. Mealy-minded, sour-faced and miserable as a reunion of clerks. In such a world, Cotillion, not even the gods will visit. Except in pilgrimage to depression.

Why are you doing this?" Clary said. "Sebastian, why are you saying all these things?" "Because I finally can," Sebastian said. "You've no idea what it's been like, being around the lot of you these past few days, having to pretend I could stand you. That the sight of you didn't make me sick. You," he said to Jace, "every second you're not panting after your own sister, you're whining on and on about how daddy didn't love you. Well, who could blame him? And you, you stupid bitch"-he turned to Clary-"giving that priceless book away to a half-breed warlock; have you got a single brain cell in that tiny head of yours? And you-" He directed his next sneer at Alec. "I think we all know what's wrong with you. They shouldn't let your kind in the Clave. You're disgusting.

Here I am, proud as Greek god, and yet standing debtor to this blockhead for a bone to stand on! Cursed be that mortal inter-indebtedness which will not do away with ledgers. I would be free as air; and I'm down in the whole world's books. I am so rich, I could have given bid for bid with the wealthiest Praetorians at the auction of the Roman empire (which was the world's); and yet I owe for the flesh in the tongue I brag with. By heavens! I'll get a crucible, and into it, and dissolve myself down to one small, compendious vertebra.

Some things are important. Others are not. Yet all would claim a mortal's attention. It falls to each of us to remain ever mindful, and thus purchase wisdom in the threading of possibilities. It is our common failing, Brys Beddict, that we are guided by our indifference to eventualities. The moment pleases, the future can await consideration.

To write books is easy, it requires only pen and ink and the ever-patient paper. To print books is a little more difficult, because genius so often rejoices in illegible handwriting. To read books is more difficult still, because of a tendency to go to sleep. But the most difficult task of all that a mortal man can embark on is to sell a book.

Even though man himself is mortal, he can imagine neither the end of space nor of time nor of history nor of a people, for he always lives in an illusory infinitude. Those who are fascinated by the idea of progress do not suspect that everything moving forward is at the same time bringing the end nearer and that joyous watchwords like 'forward' and 'farther' are the lascivious voice of death urging us to hasten to it.

Written fifteen years ago, in 1940, amid the French and European disaster, this book declares that even within the limits of nihilism it is possible to find the means to proceed beyond nihilism. In all the books I have written since, I have attempted to pursue this direction. Although “The Myth of Sisyphus” poses mortal problems, it sums itself up for me as a lucid invitation to live and to create, in the very midst of the desert.

She who can paint a masterpiece or write a book that will influence millions deserves the plaudits and admiration of mankind. But she who would willingly and anxiously rear successfully a family of beautiful healthy sons and daughters whose lives reflect the teachings of the gospel, deserves the highest honors that man can give, and the choicest blessings of God. In fact, in her high duty and service to humanity, endowing with mortality eternal spirits, she is a co-partner with the Great Creator Himself.

[she felt] sorry for herself, for getting older, for being mortal, for all the music she still wanted to hear, the books she intended to read, the places she had meant to visit, the things she had promised herself she'd learn one day [...] and probably never would because time was beginning to feel like a fast express train that no longer stopped at all the stations.

The Emperor is dead! So too his right hand - now cold, now severed! But mark these dying shadows, twinned and flowing bloody and beaten, down and away from mortal sight... From sceptre's rule dismissed, from gild candelabra the light now fled, from a hearth ringed in hard jewels seven years this warmth has bled... The Emperor is dead. So too his master'd companion, the rope cut clean. But mark this burgeoning return - faltering dark, the tattered shroud - embracing children in Empire's dying light. Hear now the dirge faint reprised, before the sun's fall, this day spills red on buckled earth, and in obsidian eyes vengeance chimes seven times..." ―Call to Shadow, Felisin (I.i. 1-18)

There is something profoundly cynical, my friends, in the notion of paradise after death. The lure is evasion. The promise is excusative. One need not accept responsibility for the world as it is, and by extension, one need do nothing about it. To strive for change, for true goodness in this mortal world, one must acknowledge and accept, within one’s own soul, that this mortal reality has purpose in itself, that its greatest value is not for us, but for our children and their children. To view life as but a quick passage along a foul, tortured path – made foul and tortured by our own indifference – is to excuse all manner of misery and depravity, and to exact cruel punishment upon the innocent lives to come. I defy this notion of paradise beyond the gates of bone. If the soul truly survives the passage, then it behooves us – each of us, my friends – to nurture a faith in similitude: what awaits us is a reflection of what we leave behind, and in the squandering of our mortal existence, we surrender the opportunity to learn the ways of goodness, the practice of sympathy, empathy, compassion and healing – all passed by in our rush to arrive at a place of glory and beauty, a place we did not earn, and most certainly do not deserve.

He is a demon, Clarissa,” said Valentine, still in the same soft voice. “A demon with a man’s face. I know how deceptive such monsters can be. Remember, I spared him once myself.” “Monster?” echoed Clary. She thought of Luke, Luke pushing her on the swings when she was five years old, higher, always higher; Luke at her graduation from middle school, camera clicking away like a proud father’s; Luke sorting through each box of books as it arrived at his store, looking for anything she might like and putting it aside. Luke lifting her up to pull apples down from the trees near his farmhouse. Luke, whose place as her father this man was trying to take. “Luke isn’t a monster,” she said in a voice that matched Valentine’s, steel for steel. “Or a murderer. You are.” “Clary!” It was Jace. Clary ignored him. Her eyes were fixed on her father’s cold black ones. “You murdered your wife’s parents, not in battle but in cold blood,” she said. “And I bet you murdered Michael Wayland and his little boy, too. Threw their bones in with my grandparents’ so that my mother would think you and Jace were dead. Put your necklace around Michael Wayland’s neck before you burned him so everyone would think those bones were yours. After all your talk about the untainted blood of the Clave — you didn’t care at all about their blood or their innocence when you killed them, did you? Slaughtering old people and children in cold blood, that’s monstrous.

Practical advice.—People who read much must always keep it in mind that life is one thing, literature another. Not that authors invariably lie. I declare that there are writers who rarely and most reluctantly lie. But one must know how to read, and that isn't easy. Out of a hundred bookreaders ninety-nine have no idea what they are reading about. It is a common belief, for example, that any writer who sings of suffering must be ready at all times to open his arms to the weary and heavy-laden. This is what his readers feel when they read his books. Then when they approach him with their woes, and find that he runs away without looking back at them, they are filled with indignation and talk of the discrepancy between word and deed. Whereas the fact is, the singer has more than enough woes of his own, and he sings them because he can't get rid of them. L’uccello canta nella gabbia, non di gioia ma di rabbia, says the Italian proverb: "The bird sings in the cage, not from joy but from rage." It is impossible to love sufferers, particularly hopeless sufferers, and whoever says otherwise is a deliberate liar. "Come unto Me all ye that labour and are heavy laden, and I will give you rest." But you remember what the Jews said about Him: "He speaks as one having authority!" And if Jesus had been unable, or had not possessed the right, to answer this skeptical taunt, He would have had to renounce His words. We common mortals have neither divine powers nor divine rights, we can only love our neighbours whilst they still have hope, and any pretence of going beyond this is empty swagger. Ask him who sings of suffering for nothing but his songs. Rather think of alleviating his burden than of requiring alleviation from him. Surely not—for ever should we ask any poet to sob and look upon tears. I will end with another Italian saying: Non è un si triste cane che non meni la coda... "No dog so wretched that doesn't wag his tail sometimes.

Yes. I'm not unhappy about becoming old. I'm not unhappy about what must be. It makes me cry only when I see my friends go before me and life is emptied. I don't believe in an afterlife, but I still fully expect to see my brother again. And it's like a dream life. I am reading a biography of Samuel Palmer, which is written by a woman in England. I can't remember her name. And it's sort of how I feel now, when he was just beginning to gain his strength as a creative man and beginning to see nature. But he believed in God, you see, and in heaven, and he believed in hell. Goodness gracious, that must have made life much easier. It's harder for us nonbelievers. But, you know, there's something I'm finding out as I'm aging that I am in love with the world. And I look right now, as we speak together, out my window in my studio and I see my trees and my beautiful, beautiful maples that are hundreds of years old, they're beautiful. And you see I can see how beautiful they are. I can take time to see how beautiful they are. It is a blessing to get old. It is a blessing to find the time to do the things, to read the books, to listen to the music. You know, I don't think I'm rationalizing anything. I really don't. This is all inevitable and I have no control over it.

Funny thing about those Middle Ages,” said Joseph. “They just keep coming back. Mortals keep thinking they’re in Modern Times, you know, they get all this neat technology and pass all these humanitarian laws, and then something happens: there’s an economic crisis, or science makes some discovery people can’t deal with. And boom, people go right back to burning Jews and selling pieces of the true Cross. Don’t you ever make the mistake of thinking that mortals want to live in a golden age. They hate thinking.

It opened with the melancholy reflection that, in the lives of mortals the best days are the first to flee. ‘Optima dies ... prima fugit.’ I turned back to the beginning of the third book, which we had read in class that morning. ‘Primus ego in patriam mecum ... deducam Musas’; ‘for I shall be the first, if I live, to bring the Muse into my country.

In that book which she and her simple old friend had read so much together, she had seen and taken to her young heart the image of one who loved the little child; and, as she gazed and mused, He had ceased to be an image and a picture of the distant past, and come to be a living, all-surrounding reality. His love enfolded her childish heart with more than mortal tenderness; and it was to Him, she said, she was going, and to his home. But

If you tell a lie big enough and keep repeating it, people will eventually come to believe it. The lie can be maintained only for such time as the State can shield the people from the political, economic and/or military consequences of the lie. It thus becomes vitally important for the State to use all of its powers to repress dissent, for the truth is the mortal enemy of the lie, and thus by extension, the truth is the greatest enemy of the State. —Joseph Goebbels, Minister of Public Enlightenment and Propaganda, Deutsches Reich

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

It goes without saying that even those of us who are going to hell will get eternal life—if that territory really exists outside religious books and the minds of believers, that is. Having said that, given the choice, instead of being grilled until hell freezes over, the average sane human being would, needless to say, rather spend forever idling in an extremely fertile garden, next to a lamb or a chicken or a parrot, which they do not secretly want to eat, and a lion or a tiger or a crocodile, which does not secretly want to eat them.

Why? I mean, if your Infinite is the Creator—the one true God—then why can’t He simply say, ‘Listen, mortals, everyone behave!’ and have them be perfect? Why drag you into this mess?” Ela prayed to the Infinite for words, then spoke carefully. “Because He loves us. And love does not demand enslavement, but . . . love desires a partnership. Our Creator seeks true communication between us and Him. He won’t force anyone to love Him. We decide for ourselves.

For Desire, who is male and female, fair and dark, old and young, anything and everything you have ever wished for, or coveted, or needed, is irresistible. And so what would be the point, after all? Love is not a game to Desire, as it is to so many mortals, or if it is, it is a game with a foregone conclusion: Desire always wins. And Desire hates more than anything to be bored.

Those whom the gods choose, ’tis said, they first separate from other mortals—by treachery, by stripping from you your spirit’s lifeblood. The gods will take all your loved ones, one by one, to their death. And, as you harden, as you become what they seek, the gods smile and nod. Each company you shun brings you closer to them. ’Tis the shaping of a tool, son, the prod and pull, and the final succour they offer you is to end your loneliness—the very isolation they helped you create.

Sabes que algunas personas pueden hacer cualquier cosa. Quieren algo y hacen que suceda" "Es un ser del Reino de las Hadas. Esta jugando con tus emociones. Puede robarte. Es inmune al hierro. Alejate de el" "Los nombres son una forma de conservar a alguien en tu mente" "Compadezo a todos los enamorados a los que no pueden renunciar al amor, por el dolor que sufren. Pues la experiencia me dice que su corazon esta lleno de pesar, un pesar que ningun mortal puede curar. "La llanura de Kildare"...

To be born at all is to be situated in a network of relations with other people, and furthermore to find oneself forcibly inserted into linguistic categories that might seem natural and inevitable but are socially constructed and rigorously policed. We’re all stuck in our bodies, meaning stuck inside a grid of conflicting ideas about what those bodies mean, what they’re capable of and what they’re allowed or forbidden to do. We’re not just individuals, hungry and mortal, but also representative types, subject to expectations, demands, prohibitions and punishments that vary enormously according to the kind of body we find ourselves inhabiting. Freedom isn’t simply a matter of indulging all material cravings, Sade-style. It’s also about finding ways to live without being hampered, hobbled, damaged or actively destroyed by a constant reinforcement of ideas about what is permitted for the category of body to which you’ve been assigned.

Love is only surpassing sweet when it is directed toward a mortal object, and the secret of this ultimate sweetness only is defined by the bitterness of death. Thus the white peoples of the world foresee a time when their land with its rivers and mountains still lies under heaven as it does today, but other people dwell there; when their language is entombed in books, and their laws and customs have lost their living power.

The last lights were undulating on the standing green water of the pool. Discovering the sublime in the trivial, the invisible underneath the tangible—she herself completely disarmed as if in that instant she'd learned that her ability to uncover the secrets of natural life was still intact. And also disarmed by the slight anguish that came to her when she felt she could uncover other secrets too, perhaps a mortal secret. But she knew she was ambitious: she'd scorn easy success and want, though she was afraid, to rise higher and higher or descend lower and lower.

I’m riding a tram and, as is my habit, slowly absorbing every detail of the people around me. By ‘detail’ I mean things, voices, words. In the dress of the girl directly in front of me, for example, I see the material it’s made of, the work involved in making it – since it’s a dress and not just material – and I see in the delicate embroidery around the neck the silk thread with which it was embroidered and all the work that went into that. And immediately, as if in a primer on political economy, I see before me the factories and all the different jobs: the factory where the material was made; the factory that made the darker coloured thread that ornaments with curlicues the neck of the dress’ and I see the different workshops in the factories, the machines, the workmen, the seamstresses. My eyes’ inward gaze even penetrates into the offices, where I see the managers trying to keep calm and the figures set out in the account books, but that’s not all: beyond that I see into the domestic lives of all those who spend their working hours in these factories and offices...A whole world unfolds before my eyes all because the regularly irregular dark green edging to a pale green dress worn by the girl in front of me of whom I see only her brown neck. ‘A whole way of life lies before me. I sense the loves, the secrets, the souls of all those who worked just so that this woman in front of me on the tram should wear around her mortal neck the sinuous banality of a thread of dark green silk on a background of light green cloth. I grow dizzy. The seats on the tram, of fine, strong cane, carry me to distant regions, divide into industries, workmen, houses, lives, realities, everything. I leave the tram exhausted, like a sleepwalker, having lived a whole life.

A stydy today of the products of the animated cartoon industry of the twenties, thirties and forties would yield the following theology: 1. People are animals. 2. The body is mortal and subject to incredible pain. 3. Life is antagonistic to the living. 4. The flesh can be sawed, crushed, frozen, stretched, burned, bombed, and plucked for music. 5. The dumb are abused by the smart and the smart are destroyed by their own cunning. 6. The small are tortured by the large and the large destroyed by their own momentum. 7. We are able to walk on air, but only as long as our illusion supports us.

Look not too long in the face of the fire O man!...believe not the artificial fire, when its redness makes all things look ghastly. Tomorrow, in the natural sun, the skies will be bright; those who glared like devils in the forking flames, the morn will show in far other, at least gentler relief; the glorious, golden, glad sun, the only true lamp - all others but liars! Nevertheless the sun hides not Virginia's dismal swamp, nor Rome's accursed Campagna, nor wide Sahara, nor all the millions of miles of deserts and of griefs beneath the moon. The sun hides not the ocean which is the dark side of this Earth, and which is two thirds of this Earth. So, therefore, that mortal man who hath more of joy than sorrow in him, that mortal man cannot be true - not true, or undeveloped. With books the same. The truest of all men was The Man of Sorrows, and the truest of all books is Solomon's, and Ecclesiastes is the fine hammered steel of woe. 'All is vanity'. ALL. The wilful world hath not got hold of unchristian Solomon's wisdom yet. But he who dodges hospitals and jails, and walks fast crossing grave yards, and would rather talk of operas than hell; calls Cowper, Young, Pascal, Rosseau, poor devils all sick of men; and throughout a carefree lifetime swears by Rabelais as passing wise, and therefore jolly; - not that man is fitted to sit down on tomb stones, and break the green damp mould unfathomable wounderous Solomon.

The Correspondence-School Instructor Says Goodbye to His Poetry Students Goodbye, lady in Bangor, who sent me snapshots of yourself, after definitely hinting you were beautiful; goodbye, Miami Beach urologist, who enclosed plain brown envelopes for the return of your very “Clinical Sonnets”; goodbye, manufacturer of brassieres on the Coast, whose eclogues give the fullest treatment in literature yet to the sagging breast motif; goodbye, you in San Quentin, who wrote, “Being German my hero is Hitler,” instead of “Sincerely yours,” at the end of long, neat-scripted letters extolling the Pre-Raphaelites: I swear to you, it was just my way of cheering myself up, as I licked the stamped, self-addressed envelopes, the game I had of trying to guess which one of you, this time, had poisoned his glue. I did care. I did read each poem entire. I did say everything I thought in the mildest words I knew. And now, in this poem, or chopped prose, no better, I realize, than those troubled lines I kept sending back to you, I have to say I am relieved it is over: at the end I could feel only pity for that urge toward more life your poems kept smothering in words, the smell of which, days later, tingled in your nostrils as new, God-given impulses to write. Goodbye, you who are, for me, the postmarks again of imaginary towns—Xenia, Burnt Cabins, Hornell— their solitude given away in poems, only their loneliness kept. Galway Kinnell

Shams of Tabriz Befuddled believer! If every Ramadan one fasts in the name of God and every Eid one sacrifices a sheep or a goat as an atonement for his sins, if all his life one strives to make pilgrimage to Mecca and five times a day kneels on a prayer rug but at the same time has no room for love in his heart, what is the use of all this trouble? Faith is only a word if there is no love at its center, so flaccid and lifeless, vague and hollow -- not anything you could truly feel. Pity the fool who thinks the boundaries of his mortal mind are the boundaries of God the Almighty. Pity the ignorant who assume they can negotiate and settle debts with God. Do such people think God is a grocer who attempts to weigh our virtues and wrongdoings on two separate scales? Is He a clerk meticulously writing down our sins in His accounting book so as to make us pay Him back someday? Is this their notion of Oneness?

If you didn’t already know this, the sun is going to die. When I think about the future, I don’t think about inescapable ends. But even if we solve global warming and destroy nuclear bombs and control population, ultimately the human race will annihilate itself if we stay here. Eventually, inevitably, we will no longer be able to live on Earth: we have a giant fireball clock ticking down twilight by twilight. In many ways, I think mortality is more manageable when we consider our eternal components, our genetics and otherwise that carry on after us. Still, soon enough, the books we write and the plants we grow will freeze up and rot in the darkness. But maybe there’s hope. What the universe really boils down to is whether a planet evolves a life-form intelligent enough to create technology capable of transporting and sustaining that life-form off the planet before the sun in that planet’s solar system explodes. I have a limited set of comparative data points, but I’d estimate that we’re actually doing okay at this point. We already have (intelligent) life, technology, and (primitive) space travel. And we still have some time before our sun runs out of hydrogen and goes nuclear. Yet none of that matters unless we can develop a sustainable means of living and traveling in space. Maybe we can. What I’ve concluded is that if we do reach this point, we have crossed a remarkable threshold—and will emerge into the (rare?) evolutionary status of having outlived the very life source that created us. It’s natural selection on a Universal scale. “The Origin of the Aliens,” one could say; a survival of the fittest planets. Planets capable of evolving life intelligent enough to leave before the lights go out. I suppose that without a God, NASA is my anti-nihilism. Alone and on my laptop, these ideas can humble me into apathy.

What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

THIS IS NOT, to say the least, an appealing prospect. People naturally prefer to avoid the subject of their decrepitude. There have been dozens of bestselling books on aging, but they tend to have titles such as Younger Next Year, The Fountain of Age, Ageless, or—my favorite—The Sexy Years. Still, there are costs to averting our eyes from the realities. We put off dealing with the adaptations that we need to make as a society. And we blind ourselves to the opportunities that exist to change the individual experience of aging for the better.

In the hearts of fans everywhere, his protectiveness is where his true appeal lies. Edward feels both pleasure and pain in Bella's company: his heart cries out for her love while his need for her blood, the scent of which intoxicates him, and he must fight the urge to kill her to savor it. His agony would end if he were to fulfill her request to turn her into a vampire, but he refuses. He fears it would mean giving up her soul, and he has made it his mission to safeguard her, body and soul. Even when it seems he is bound by a promise to make her a vampire, he will only do it if she marries him, sanctifying the act in his mind. This magnificent creature, who could have one of his on glorious kind, chooses plain, mortal Bella; puts her on a pedestal; and is willing to protect and honor her. What woman could ask for more?

The God who made the stars, the seas, the mountains and its peaks, the universe and its galaxies felt this world would be incomplete without you and without me. Do you see how you are a puzzle piece in the whole—how without you here, there would be a hole? Your body is not just a clay tent that you live in, it’s a piece of the universe you have been given. You are not a small star, you are a reflection of the entire cosmos. Can you hear the big bang in your heart? Eighty times a minute God knocks on the doors of your chest, to remind you that He has never left, and that He is closer to you than the jugular vein in your neck (50:16). Every moment is divinely blessed, for this very moment God is blowing the breath of life through eight billion different human chests. You are not just star dust and dirt, you are a reflection of God’s beauty on Earth. You are not this mortal body that death will one day take. You are an everlasting spirit held in the mortal embrace of clay. You are not a human being meant to be spiritual, you are a spiritual being living this human being miracle.” ARU BARZAK, POET

When the soul adores Him Who guides it through mortal life, when it distinguishes His sign at every turn of the trail, painted on the boulder and notched in the fir trunk, when every page in the book of one’s personal fate bears His watermark, how can one doubt that He will also preserve us through all eternity? So what can stop one from effecting the transition? What can help us to resist the intolerable temptation? What can prevent us from yielding to the burning desire for merging in God? We who burrow in filth every day may be forgiven perhaps the one sin that ends all sins.

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

She sat down at a table, with books piled high around her and began looking through them rapidly, looking for some information concerning marriage with mortals. Dust rose from the books and swirled about her, dancing and glittering wherever the light struck it. Mika leaned over her shoulder curiously, repeating softly to himself some of the incantations he read there. At once there were faint rustlings and sighs in the air. “Stop, stop!” Flumpdoria cried. “You silly thing, do you want all the jinns and genii in the world bumping about in this room? Don’t say those spells aloud. And stop looking over my shoulder. It gives me the creeps.

Parenting, in short, is a dance of the generations. Whatever affected one generation but has not been fully resolved will be passed on to the next. Lance Morrow, a journalist and writer, succinctly expressed the multigenerational nature of stress in his book Heart, a wrenching and beautiful account of his encounters with mortality, thrust upon him by near-fatal heart disease: “The generations are boxes within boxes: Inside my mother’s violence you find another box, which contains my grandfather’s violence, and inside that box (I suspect but do not know), you would find another box with some such black, secret energy — stories within stories, receding in time.” Blame becomes a meaningless concept if one understands how family history stretches back through the generations. “Recognition of this quickly dispels any disposition to see the parent as villain,” wrote John Bowlby, the British psychiatrist whose work threw scientific light on the decisive importance of attachment in infancy and childhood. Whom do we accuse?

The small eyes, buried in epicanthic folds, shifted. A low, reverberating voice rumbled from the flesh and blood warrior. ‘Trull Sengar. Is this… is this mortality?’ The Tiste Edur drew a step closer. ‘You don’t remember? How it feels to be alive?’ ‘I-I… yes.’ A sudden look of wonder in that heavy, broadly featured face. ‘Yes.’ Another deep breath, then a gust that was nearly savage in its exultation. The strange gaze fixed on Quick Ben once more. ‘Wizard, is this illusion? Dream? A journey of my spirit?’ ‘I don’t think so. I mean, I think it’s real enough.’ ‘Then… this realm. It is Tellann.’ ‘Maybe. I’m not sure.’ Trull Sengar was suddenly on his knees, and Quick Ben saw tears streaming down the Tiste Edur’s lean, dusky face. The burly, muscled warrior before them, still wearing the rotted remnants of fur, slowly looked round at the withered landscape of open tundra. ‘Tellann,’ he whispered. ‘Tellann.

Aside from the encounter with the Sphinx, there is little in Oedipus to connect him to the common run of Greek heroic figures. He strikes us today as a modern tragic hero and political animal; it is hard to picture him shaking hands with Heracles or joining the crew of the Argo. many scholars and thinkers, most notably Friedrich Nietzsche in his book The Birth of Tragedy, have seen in Oedipus a character who works out on stage the tension in Athenians (and all of us) between the reasoning, mathematically literate citizen and the transgressive blood criminal; between the thinking and the instinctual being; between the superego and the id; between the Apollonian and the Dionysian impulses that contend within us. Oedipus is a detective who employs all the fields of enquiry of which the Athenians were so proud -- logic, numbers, rhetoric, order and discovery -- only to reveal a truth that is disordered, shameful, transgressive and bestial.

I have entered upon a performance which is without example, whose accomplishment will have no imitator. I mean to present my fellow-mortals with a man in all the integrity of nature; and this man shall be myself. I know my heart, and have studied mankind; I am not made like any one I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work. Whenever the last trumpet shall sound, I will present myself before the sovereign judge with this book in my hand, and loudly proclaim, thus have I acted; these were my thoughts; such was I. With equal freedom and veracity have I related what was laudable or wicked, I have concealed no crimes, added no virtues; and if I have sometimes introduced superfluous ornament, it was merely to occupy a void occasioned by defect of memory: I may have supposed that certain, which I only knew to be probable, but have never asserted as truth, a conscious falsehood. Such as I was, I have declared myself; sometimes vile and despicable, at others, virtuous, generous and sublime; even as thou hast read my inmost soul: Power eternal! assemble round thy throne an innumerable throng of my fellow-mortals, let them listen to my confessions, let them blush at my depravity, let them tremble at my sufferings; let each in his turn expose with equal sincerity the failings, the wanderings of his heart, and, if he dare, aver, I was better than that man.

IN 1908, A Harvard philosopher named Josiah Royce wrote a book with the title The Philosophy of Loyalty. Royce was not concerned with the trials of aging. But he was concerned with a puzzle that is fundamental to anyone contemplating his or her mortality. Royce wanted to understand why simply existing—why being merely housed and fed and safe and alive—seems empty and meaningless to us. What more is it that we need in order to feel that life is worthwhile? The answer, he believed, is that we all seek a cause beyond ourselves. This was, to him, an intrinsic human need. The cause could be large (family, country, principle) or small (a building project, the care of a pet). The important thing was that, in ascribing value to the cause and seeing it as worth making sacrifices for, we give our lives meaning.

And so we weep for the fallen. We weep for those yet to fall, and in war the screams are loud and harsh and in peace the wail is so drawn-out we tell ourselves we hear nothing. And so this music is a lament, and I am doomed to hear its bittersweet notes for a lifetime. Show me a god that does not demand mortal suffering. Show me a god that celebrates diversity, a celebration that embraces even non-believers and is not threatened by them. Show me a god who understands the meaning of peace. In life, not in death. Show— 'Stop,' Gesler said in a grating voice. Blinking, Fiddler lowered the instrument. 'What?' 'You cannot end with such anger, Fid. Please.' Anger? I am sorry. He would have spoken that aloud, but suddenly he could not. His gaze lowered, and he found himself studying the littered floor at his feet. Someone, in passing – perhaps Fiddler himself – had inadvertently stepped on a cockroach. Half-crushed, smeared into the warped wood, its legs kicked feebly. He stared at it in fascination. Dear creature, do you now curse an indifferent god? 'You're right,' he said. 'I can't end it there.' He raised the fiddle again. 'Here's a different song for you, one of the few I've actually learned. From Kartool. It's called "The Paralt's Dance".' He rested the bow on the strings, then began. Wild, frantic, amusing. Its final notes recounted the triumphant female eating her lover. And even without words, the details of that closing flourish could not be mistaken. The four men laughed. Then fell silent once more.

Peace and beauty? You think Indians are so worried about peace and beauty? ... If Wovoka came back to life, he'd be so pissed off. If the real Pocahontas came back, you think she'd be happy about being a cartoon? If Crazy Horse, or Geronimo, or Sitting Bull came back, they'd see what you white people have done to Indians, and they'd start a war. They'd see the homeless Indians staggering around downtown. They'd see fetal-alcohol-syndrome babies. They'd see the sorry-ass reservations. They'd learn about Indian suicides and infant mortality rates. They'd listen to some dumb-ass Disney song and feel like hurting somebody. They'd read books by assholes like Wilson, and they would start killing themselves some white people, and then kill some asshole Indians too. Dr. Mather, if the Ghost Dance worked, there would be no exceptions. All you white people would disappear. All of you. If those dead Indians came back to life ,they wouldn't crawl into a sweathouse with you. They wouldn't smoke the pipe with you. They wouldn't go to the movies and munch popcorn with you. They'd kill you. They'd gut you and eat your heart.

For as to what we have heard you affirm, that there are other kingdoms and states in the world inhabited by human creatures as large as yourself, our philosophers are in much doubt, and would rather conjecture that you dropped from the moon, or one of the stars; because it is certain, that a hundred mortals of your bulk would in a short time destroy all the fruits and cattle of his majesty’s dominions: besides, our histories of six thousand moons make no mention of any other regions than the two great empires of Lilliput and Blefuscu. Which two mighty powers have, as I was going to tell you, been engaged in a most obstinate war for six-and-thirty moons past. It began upon the following occasion. It is allowed on all hands, that the primitive way of breaking eggs, before we eat them, was upon the larger end; but his present majesty’s grandfather, while he was a boy, going to eat an egg, and breaking it according to the ancient practice, happened to cut one of his fingers. Whereupon the emperor his father published an edict, commanding all his subjects, upon great penalties, to break the smaller end of their eggs. The people so highly resented this law, that our histories tell us, there have been six rebellions raised on that account; wherein one emperor lost his life, and another his crown. These civil commotions were constantly fomented by the monarchs of Blefuscu; and when they were quelled, the exiles always fled for refuge to that empire. It is computed that eleven thousand persons have at several times suffered death, rather than submit to break their eggs at the smaller end. Many hundred large volumes have been published upon this controversy: but the books of the Big-endians have been long forbidden, and the whole party rendered incapable by law of holding employments. During the course of these troubles, the emperors of Blefusca did frequently expostulate by their ambassadors, accusing us of making a schism in religion, by offending against a fundamental doctrine of our great prophet Lustrog, in the fifty-fourth chapter of the Blundecral (which is their Alcoran). This, however, is thought to be a mere strain upon the text; for the words are these: ‘that all true believers break their eggs at the convenient end.’ And which is the convenient end, seems, in my humble opinion to be left to every man’s conscience, or at least in the power of the chief magistrate to determine.

I am about to reveal to you an arcane, unfathomable mystery that has never been whispered by mortal lips or displayed on the hallowed shelves where the venerable masters of science discuss their theories with uncompromising rigour. I am about to entrust you with a secret that will drastically alter your perception of existence, a knowledge so potent that upon its discovery, your human essence will resist its comprehension, fearful of the overwhelming luminosity and its permanence on this earthly plane; When, as if by magic, these words pass through the barrier of your heart and establish a link with your mind to revitalise your consciousness, it will be time to cast off the chains of moral slavery and tear your soul into a thousand fragments, allowing the divine light to recompose and transform it, Do you long to know the secret? Well, place your hand on the centre of your chest, inhale deeply at a slower than usual pace and whisper to your heart: "I AM FREE"--From The Devil's Writer

Kiaran tosses me his coat. “Here. There’s a roll of bread for you in the inner pocket. You need to eat something.” The bread is wrapped in leaves that kept it dry. I gratefully murmur my thanks that Kiaran is so practical. Between the Morrigan’s attacks and worrying over the Book, I didn’t even notice how famished I was. Kiaran gathers wood for a fire and I light it with my powers. A small bit of energy I’m willing to risk because I’m so bloody tired and I’ve never seen Kiaran look this rough, either. Now you know how I feel, I think wryly as I move to sit near the flames. No invulnerable, shining fae skin. No immediate healing. Just the deep bone-tiredness of mortality. Kiaran sits opposite, as far from me as possible. The scent of burning wood must mask the scent of my blood, at least a little. His eyes flicker to me in a quick, controlled assessment. “Your wounds need binding.” I can’t help but smile. “First the bread, now my wounds. Is this the Kiaran MacKay way of fussing over someone?” “I don’t fuss,” Kiaran says. “I give stern instructions, like: Bind your goddamn wounds.” “I don’t like overbearing men.” His mouth quirks into a sly smile. “And yet I love assertive, stubborn women.” I laugh in surprise. “God, I adore you.

Don't you want to preserve old things? But you can't, Anthony. Beautiful things grow to a certain height and then they fail and fade off, breathing out memories as they decay. And just as any period decays in our minds, the things of that period should decay too, and in that way they're preserved for a while in the few hearts like mine that react to them. That graveyard at Tarrytown, for instance. The asses who give money to preserve things have spoiled that too. Sleepy Hollow's gone; Washington Irving's dead and his books are rotting in our estimation year by year - then let the graveyard rot too, as it should, as all things should. Trying to preserve a century by keeping its relics up to date is like keeping a dying man alive by stimulants. So you think that just as time goes to pieces its houses ought to go too? Of course! Would you value your Keats letter if the signature was traced over to make it last longer? It's just because I love the past that I want this house to look back on its glamorous moment of youth and beauty, and I want its stars to creak as if to the footsteps of women with hoop-skirts and men in boots and spurs. But they've made it into a blondined, rouged-up old woman of sixty. It hasn't any right to look so prosperous. It might care enough for Lee to drop a brick now and then. How many of these - these animals - get anything from this, for all the histories and guide-books and restorations in existence? How many of them who think that, at best, appreciation is talking in undertones and walking on tiptoes would even come here if it was any trouble? I want it to smell of magnolias instead of peanuts and I want my shoes to crunch on the same gravel that Lee's boots crunched on. There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses - bound for dust - mortal-

If you never knew the worlds in my mind your sense of loss would be small pity and we’ll forget this on the trail. Take what you’re given and turn away the screwed face. I do not deserve it, no matter how narrow the strand of your private shore. If you will do your best I’ll meet your eye. It’s the clutch of arrows in hand that I do not trust bent to the smile hitching my way. We aren’t meeting in sorrow or some other suture bridging scars. We haven’t danced the same thin ice and my sympathy for your troubles I give freely without thought of reciprocity or scales on balance. It’s the decent thing, that’s all. Even if that thing is a stranger to so many. But there will be secrets you never knew and I would not choose any other way. All my arrows are buried and the sandy reach is broad and all that’s private cools pinned on the altar. Even the drips are gone, that child of wants with a mind full of worlds and his reddened tears. The days I feel mortal I so hate. The days in my worlds, are where I live for ever, and should dawn ever arrive I will to its light awaken as one reborn. Poet’s Night iii.iv The Malazan Book of the Fallen Fisher kel Tath

Many readers are familiar with the spirit and the letter of the definition of “prayer”, as given by Ambrose Bierce in his Devil’s Dictionary. It runs like this, and is extremely easy to comprehend: Prayer: A petition that the laws of nature be suspended in favor of the petitioner; himself confessedly unworthy. Everybody can see the joke that is lodged within this entry: The man who prays is the one who thinks that god has arranged matters all wrong, but who also thinks that he can instruct god how to put them right. Half–buried in the contradiction is the distressing idea that nobody is in charge, or nobody with any moral authority. The call to prayer is self–cancelling. Those of us who don’t take part in it will justify our abstention on the grounds that we do not need, or care, to undergo the futile process of continuous reinforcement. Either our convictions are enough in themselves or they are not: At any rate they do require standing in a crowd and uttering constant and uniform incantations. This is ordered by one religion to take place five times a day, and by other monotheists for almost that number, while all of them set aside at least one whole day for the exclusive praise of the Lord, and Judaism seems to consist in its original constitution of a huge list of prohibitions that must be followed before all else. The tone of the prayers replicates the silliness of the mandate, in that god is enjoined or thanked to do what he was going to do anyway. Thus the Jewish male begins each day by thanking god for not making him into a woman (or a Gentile), while the Jewish woman contents herself with thanking the almighty for creating her “as she is.” Presumably the almighty is pleased to receive this tribute to his power and the approval of those he created. It’s just that, if he is truly almighty, the achievement would seem rather a slight one. Much the same applies to the idea that prayer, instead of making Christianity look foolish, makes it appear convincing. Now, it can be asserted with some confidence, first, that its deity is all–wise and all–powerful and, second, that its congregants stand in desperate need of that deity’s infinite wisdom and power. Just to give some elementary quotations, it is stated in the book of Philippians, 4:6, “Be careful for nothing; but in everything by prayer and supplication and thanksgiving, let your requests be known to God.” Deuteronomy 32:4 proclaims that “he is the rock, his work is perfect,” and Isaiah 64:8 tells us, “Now O Lord, thou art our father; we art clay and thou our potter; and we are all the work of thy hand.” Note, then, that Christianity insists on the absolute dependence of its flock, and then only on the offering of undiluted praise and thanks. A person using prayer time to ask for the world to be set to rights, or to beseech god to bestow a favor upon himself, would in effect be guilty of a profound blasphemy or, at the very least, a pathetic misunderstanding. It is not for the mere human to be presuming that he or she can advise the divine. And this, sad to say, opens religion to the additional charge of corruption. The leaders of the church know perfectly well that prayer is not intended to gratify the devout. So that, every time they accept a donation in return for some petition, they are accepting a gross negation of their faith: a faith that depends on the passive acceptance of the devout and not on their making demands for betterment. Eventually, and after a bitter and schismatic quarrel, practices like the notorious “sale of indulgences” were abandoned. But many a fine basilica or chantry would not be standing today if this awful violation had not turned such a spectacularly good profit. And today it is easy enough to see, at the revival meetings of Protestant fundamentalists, the counting of the checks and bills before the laying on of hands by the preacher has even been completed. Again, the spectacle is a shameless one.

When he was seventy-four years old the Cretan novelist Nikos Kazantzakis began a book. He called it Report to Greco... Kazantzakis thought of himself as a soldier reporting to his commanding officer on a mortal mission—his life. ... Well, there is only one Report to Greco, but no true book... was ever anything else than a report. ... A true book is a report upon the mystery of existence... it speaks of the world, of our life in the world. Everything we have in the books on which our libraries are founded—Euclid's figures, Leonardo's notes, Newton's explanations, Cervantes' myth, Sappho's broken songs, the vast surge of Homer—everything is a report of one kind or another and the sum of all of them together is our little knowledge of our world and of ourselves. Call a book Das Kapital or The Voyage of the Beagle or Theory of Relativity or Alice in Wonderland or Moby-Dick, it is still what Kazantzakis called his book—it is still a "report" upon the "mystery of things." But if this is what a book is... then a library is an extraordinary thing. ... The existence of a library is, in itself, an assertion. ... It asserts that... all these different and dissimilar reports, these bits and pieces of experience, manuscripts in bottles, messages from long before, from deep within, from miles beyond, belonged together and might, if understood together, spell out the meaning which the mystery implies. ... The library, almost alone of the great monuments of civilization, stands taller now than it ever did before. The city... decays. The nation loses its grandeur... The university is not always certain what it is. But the library remains: a silent and enduring affirmation that the great Reports still speak, and not alone but somehow all together...

Ha, ha, ha! You will be finding enjoyment in toothache next," you cry, with a laugh. We have hundreds more books for your enjoyment. Read them all! "Well, even in toothache there is enjoyment," I answer. I had toothache for a whole month and I know there is. In that case, of course, people are not spiteful in silence, but moan; but they are not candid moans, they are malignant moans, and the malignancy is the whole point. The enjoyment of the sufferer finds expression in those moans; if he did not feel enjoyment in them he would not moan. It is a good example, gentlemen, and I will develop it. Those moans express in the first place all the aimlessness of your pain, which is so humiliating to your consciousness; the whole legal system of nature on which you spit disdainfully, of course, but from which you suffer all the same while she does not. They express the consciousness that you have no enemy to punish, but that you have pain; the consciousness that in spite of all possible Wagenheims you are in complete slavery to your teeth; that if someone wishes it, your teeth will leave off aching, and if he does not, they will go on aching another three months; and that finally if you are still contumacious and still protest, all that is left you for your own gratification is to thrash yourself or beat your wall with your fist as hard as you can, and absolutely nothing more. Well, these mortal insults, these jeers on the part of someone unknown, end at last in an enjoyment which sometimes reaches the highest degree of voluptuousness. I ask you, gentlemen, listen sometimes to the moans of an educated man of the nineteenth century suffering from toothache, on the second or third day of the attack, when he is beginning to moan, not as he moaned on the first day, that is, not simply because he has toothache, not just as any coarse peasant, but as a man affected by progress and European civilisation, a man who is "divorced from the soil and the national elements," as they express it now-a-days. His moans become nasty, disgustingly malignant, and go on for whole days and nights. And of course he knows himself that he is doing himself no sort of good with his moans; he knows better than anyone that he is only lacerating and harassing himself and others for nothing; he knows that even the audience before whom he is making his efforts, and his whole family, listen to him with loathing, do not put a ha'porth of faith in him, and inwardly understand that he might moan differently, more simply, without trills and flourishes, and that he is only amusing himself like that from ill-humour, from malignancy. Well, in all these recognitions and disgraces it is that there lies a voluptuous pleasure. As though he would say: "I am worrying you, I am lacerating your hearts, I am keeping everyone in the house awake. Well, stay awake then, you, too, feel every minute that I have toothache.

And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!

Those who live in retirement, whose lives have fallen amid the seclusion of schools or of other walled-in and guarded dwellings, are liable to be suddenly and for a long while dropped out of the memory of their friends, the denizens of a freer world. Unaccountably, perhaps, and close upon some space of unusually frequent intercourse—some congeries of rather exciting little circumstances, whose natural sequel would rather seem to be the quickening than the suspension of communication—there falls a stilly pause, a wordless silence, a long blank of oblivion. Unbroken always is this blank; alike entire and unexplained. The letter, the message once frequent, are cut off; the visit, formerly periodical, ceases to occur; the book, paper, or other token that indicated remembrance, comes no more. Always there are excellent reasons for these lapses, if the hermit but knew them. Though he is stagnant in his cell, his connections without are whirling in the very vortex of life. That void interval which passes for him so slowly that the very clocks seem at a stand, and the wingless hours plod by in the likeness of tired tramps prone to rest at milestones—that same interval, perhaps, teems with events, and pants with hurry for his friends. The hermit—if he be a sensible hermit—will swallow his own thoughts, and lock up his own emotions during these weeks of inward winter. He will know that Destiny designed him to imitate, on occasion, the dormouse, and he will be conformable: make a tidy ball of himself, creep into a hole of life's wall, and submit decently to the drift which blows in and soon blocks him up, preserving him in ice for the season. Let him say, "It is quite right: it ought to be so, since so it is." And, perhaps, one day his snow-sepulchre will open, spring's softness will return, the sun and south-wind will reach him; the budding of hedges, and carolling of birds and singing of liberated streams will call him to kindly resurrection. Perhaps this may be the case, perhaps not: the frost may get into his heart and never thaw more; when spring comes, a crow or a pie may pick out of the wall only his dormouse-bones. Well, even in that case, all will be right: it is to be supposed he knew from the first he was mortal, and must one day go the way of all flesh, As well soon as syne.

In the modern era, teachers and scholarship have traditionally laid strenuous emphasis on the fact that Briseis, the woman taken from Achilles in Book One, was his géras, his war prize, the implication being that her loss for Achilles meant only loss of honor, an emphasis that may be a legacy of the homoerotic culture in which the classics and the Iliad were so strenuously taught—namely, the British public-school system: handsome and glamorous Achilles didn’t really like women, he was only upset because he’d lost his prize! Homer’s Achilles, however, above all else, is spectacularly adept at articulating his own feelings, and in the Embassy he says, “‘Are the sons of Atreus alone among mortal men the ones / who love their wives? Since any who is a good man, and careful, / loves her who is his own and cares for her, even as I now / loved this one from my heart, though it was my spear that won her’ ” (9.340ff.). The Iliad ’s depiction of both Achilles and Patroklos is nonchalantly heterosexual. At the conclusion of the Embassy, when Agamemnon’s ambassadors have departed, “Achilles slept in the inward corner of the strong-built shelter, / and a woman lay beside him, one he had taken from Lesbos, / Phorbas’ daughter, Diomede of the fair colouring. / In the other corner Patroklos went to bed; with him also / was a girl, Iphis the fair-girdled, whom brilliant Achilles / gave him, when he took sheer Skyros” (9.663ff.). The nature of the relationship between Achilles and Patroklos played an unlikely role in a lawsuit of the mid-fourth century B.C., brought by the orator Aeschines against one Timarchus, a prominent politician in Athens who had charged him with treason. Hoping to discredit Timarchus prior to the treason trial, Aeschines attacked Timarchus’ morality, charging him with pederasty. Since the same charge could have been brought against Aeschines, the orator takes pains to differentiate between his impulses and those of the plaintiff: “The distinction which I draw is this—to be in love with those who are beautiful and chaste is the experience of a kind-hearted and generous soul”; Aeschines, Contra Timarchus 137, in C. D. Adams, trans., The Speeches of Aeschines (Cambridge, MA, 1958), 111. For proof of such love, Aeschines cited the relationship between Achilles and Patroklos; his citation is of great interest for representing the longest extant quotation of Homer by an ancient author. 32

Because he was not afraid until after it was all over, Grandfather said, because that was all it was to him -a spectacle, something to be watched because he might not have a chance to see such again, since his innocence still functioned and he not only did not know what fear was until afterward, he did not even know that at first he was not terrified; did not even know that he had found the place where money was to be had quick if you were courageous and shrewd but where high mortality was concomitant with the money and the sheen on the dollars was not from gold but from blood -a spot of earth which might have been created and set aside by Heaven itself, Grandfather said, as a theatre for violence and injustice and bloodshed and all the satanic lusts of human greed and cruelty, for the last despairing fury of all the pariah-interdict and all the doomed -a little island set in a smiling and fury lurked and incredible indigo sea, which was the halfway point between what we call the jungle and what we call civilization, halfway between the dark inscrutable continent from which the black blood, the black bones and flesh and thinking and remembering and hopes and desires, was ravished by violence, and the cold known land to which it was doomed, the civilised land and people which had expelled some of its own blood and thinking and desires that had become too crass to be faced and borne longer, and set it homeless and desperate on the lonely ocean -a little lost island in a latitude which would require ten thousand years of equatorial heritage to bear its climate, a soil manured with black blood from two hundred years of oppression and exploitation until it sprang with an incredible paradox of peaceful greenery and crimson flowers and sugar cane sapling size and three times the height of a man and a little bulkier of course but valuable pound for pound almost with silver ore, as if nature held a balance and kept a book and offered recompense for the torn limbs and outraged hearts even if man did not, the planting of nature and man too watered not only by the wasted blood but breathed over by the winds in which the doomed ships had fled in vain, out of which the last tatter of sail had sunk into the blue sea, along which the last vain despairing cry of woman or child had blown away; - the planting of men too: the yet intact bones and brains in which the old unsleeping blood that had vanished into the earth they trod still cried out for vengeance. 

This book deals with four ultimate concerns: death, freedom, isolation, and meaninglessness. The individual's confrontation with each of these facts of life constitutes the content of the existential dynamic conflict. Death. The most obvious, the most easily apprehended ultimate concern is death. We exist now, but one day we shall cease to be. Death will come, and there is no escape from it. It is a terrible truth, and we respond to it with mortal terror. "Everything," in Spinoza's words, "endeavors to persist in its own being";3 and a core existential conflict is the tension between the awareness of the inevitability of death and the wish to continue to be. Freedom. Another ultimate concern, a far less accessible one, is freedom. Ordinarily we think of freedom as an unequivocally positive concept. Throughout recorded history has not the human being yearned and striven for freedom? Yet freedom viewed from the perspective of ultimate ground is riveted to dread. In its existential sense "freedom" refers to the absence of external structure. Contrary to everyday experience, the human being does not enter (and leave) a well-structured universe that has an inherent design. Rather, the individual is entirely responsible for-that is, is the author of-his or her own world, life design, choices, and actions. "Freedom" in this sense, has a terrifying implication: it means that beneath us there is no ground-nothing, a void, an abyss. A key existential dynamic, then, is the clash between' our confrontation with groundlessness and our wish for ground and structure. Existential Isolation. A third ultimate concern is isolation-not interpersonal isolation with its attendant loneliness, or intrapersonal isolation (isolation from parts of oneself), but a fundamental isolation-an isolation both from creatures and from world-which cuts beneath other isolation. No matter how close each of us becomes to another, there remains a final, unbridgeable gap; each of us enters existence alone and must depart from it alone. The existential conflict is thus the tension between our awareness of our absolute isolation and our wish for contact, for protection, our wish to be part of a larger whole. Meaninglessness. A fourth ultimate concern or given of existence is meaninglessness. If we must die, if we constitute our own world, if each is ultimately alone in an indifferent universe, then what meaning does life have? Why do we live? How shall we live? If there is no preordained design for us, then each of us must construct' our own meanings in life. Yet can a meaning of one's own creation be sturdy enough to bear one's life? This existential dynamic conflict stems from the dilemma of a meaning-seeking creature who is thrown into a universe that has no meaning.

So here we find that the animals, and the plants, the vegetation, became living souls, and were created spiritually before they were naturally upon the earth. These are very significant expressions, and I am stressing them as evidence that contradicts and confutes the organic theory of evolution. . . . Evolution teaches production and development of all things by chance, development of the smallest germ to a man created in the image of God, requiring several billions of years for that development. Moreover, this process would, if true, produce on other earths, passing through similar conditions, beings of a most hideous and dreadful nature imaginable. As they teach it has produced some very hideous beings on this earth. There could be no intelligence in a Supreme Being who had each time an earth is formed to leave everything to chance hoping that in some great period of time from an amoeba, creatures would be developed, fit to possess an eternal spirit in his image. I want you to get that! The idea, for us, sons and daughters of God, to be led astray by these theories of men into thinking that things began way back in that far distant time by some chance, suddenly appearing. Why, conditions today are far more favorable to spontaneous life than they were according to the teachings of science, millions of years ago, and have not men struggled and done everything that they knew how to do to find spontaneous life, and in searching for it they have always been defeated. So I state, and have the evidence in this book. They have never found life coming only from antecedent life. God is the author of life, and that is one secret he has not revealed to man. . . . We are transplanted beings. Adam was transplanted. I do not want to get a misunderstanding when I say that. He did not come here a resurrected being. He did not die on some other earth and then come here to die again, to be changed to mortality again, for the resurrected being cannot die. . . . So, Adam was the first man upon the earth, according to the Lord's statement, and the first flesh also. That needs a little explanation. Adam did not come to this earth until it was prepared for him. The animals were here. Plants were here. The Lord did not bring him to a desolate world, and then bring other creatures. It was all prepared for him, just according to the order that is written in our scriptures, and when it was all ready for Adam he was placed upon the earth. Then what is meant by the "first flesh"? It is simple when you understand it. Adam was the first of all creatures to fall and become flesh, and flesh in this sense means mortality, and all through our scriptures the Lord speaks of this life as flesh, while we are here in the flesh, so Adam became the first flesh. There was no other mortal creature before him, and there was no mortal death until he brought it, and the scriptures tell you that. It is here written, and that is the gospel of Jesus Christ. . . . Here the Lord says to Adam that through the fall came death, and other statements of that kind are given in these scriptures. . . . Now, evolution leads men away from God. Men who have had faith in God, when they have become converted to that theory, forsake him. Charles Darwin was a religious man when he started out. I have told in this book something about what happened to him, and how his feelings changed, and what was beautiful to him in the beginning ceased to be beautiful to him thereafter. [Seek Ye Earnestly, 277-283]