Moss On Wall Quotes

there is moss on the walls and the stain of thought and failure and waiting

There is an ancient conversation going on between mosses and rocks, poetry to be sure. About light and shadow and the drift of continents. This is what has been called the "dialect of moss on stone - an interface of immensity and minute ness, of past and present, softness and hardness, stillness and vibrancy, yin and yan.

Just as you can pick out the voice of a loved one in the tumult of a noisy room, or spot your child's smile in a sea of faces, intimate connection allows recognition in an all-too-often anonymous world. This sense of connection arises from a special kind of discrimination, a search image that comes from a long time spent looking and listening. Intimacy gives us a different way of seeing, when visual acuity is not enough.

I was tired of well-meaning folks, telling me it was time I got over being heartbroke. When somebody tells you that, a little bell ought to ding in your mind. Some people don't know grief from garlic grits. There's somethings a body ain't meant to get over. No I'm not suggesting you wallow in sorrow, or let it drag on; no I am just saying it never really goes away. (A death in the family) is like having a pile of rocks dumped in your front yard. Every day you walk out and see them rocks. They're sharp and ugly and heavy. You just learn to live around them the best way you can. Some people plant moss or ivy; some leave it be. Some folks take the rocks one by one, and build a wall.

There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir'd eyelids upon tir'd eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro' the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep.

I didn't then like the thought of my own bones, waiting inside me for their own eventual exposure.

I am trying to understand what it means to own a thing, especially a wild and living being. To have exclusive rights to its fate? To dispose of it at will? To deny others it’s use? Ownership seems a uniquely human behavior, a social contract validating the desire for purposeless possession and control.

But the world is still unpredictable and still we survive by the grace of chance and the strength of our choices.

What is it that brings me here to stand like a rock in this river of sound?

If time could run backward, like a film in reverse, we would see this mess reassemble itself into lush green hills and moss-covered ledges of limestone. The streams would run back up the hills to the springs and the salt would stay glittering in underground rooms.

Lights blind you; there's a lot you miss by gathering at the fireside.

With words at your disposal, you can see more clearly. Finding the words is another step in learning to see.

I think it is this that it is this that draws me to the pond on a night in April, bearing witness to puhpowee. Tadpoles and spores, egg and sperm, mind and yours, mosses and peepers - we are all connected by our common understanding of the calls filling the night at the start of spring. It is the wordless voice of longing that resonates within us, the longing to continue, to participate in the sacred life of the world.

In indigenous ways of knowing, it is understood that each living being has a particular role to play. Every being is endowed with certain gifts, its own intelligence, its own spirit, its own story. Our stories tell us that the Creator gave these to us, as original instructions. The foundation of education is to discover that gift within us and learn to use it well.

The plant began to topple and I found myself feeling guiltier about killing it than I had about gutting the rabbits. The whole of life, I thought, is doing harm, we live by killing, as if there were any being of which that is not the case.

I shivered. Of course, that was the whole point of the re-enactment, that we ourselves became the ghosts, learning to walk the land as they walked it two thousand years ago, to tend our fire as they tended theirs and hope that some of their thoughts, their way of understanding the world, would follow the dance of muscle and bone. To do it properly, I thought, we would almost have to absent ourselves from ourselves, leaving our actions, our re-enactions, to those no longer there. Who are the ghosts again, us or our dead? Maybe they imagined us first, maybe we were conjured out of the deep past by other minds.

A Cheyenne elder of my acquaintance once told me that the best way to find something is not to go looking for it.

One gram of moss from the forest floor, a piece about the size of a muffin, would harbour 150,000 protozoa, 132,000 tardigrades, 3,000 springtails, 800 rotifers, 500 nematodes, 400 mites, and 200 fly larvae. These numbers tell us something about the astounding quantity of life in a handful of moss.

Actually, said Molly, it’s no harder for girls to pee than boys, the problem isn’t biology, it’s men’s fear of women’s bodies. If we were allowed to pull our knickers down and squat by a wall the way you’re allowed to get your dick out and piss up the wall there wouldn’t be a problem, it’s just the way you all act as if a vagina will come and eat you if it’s out without a muzzle.

The peace of Manderley. The quietude and the grace. Whoever lived within its walls, whatever trouble there was and strife, however much uneasiness and pain, no matter what tears were shed, what sorrows borne, the peace of Manderley could not be broken or the loveliness destroyed. The flowers that died would bloom again another year, the same birds build their nests, the same trees blossom. That old quiet moss smell would linger in the air, and the bees would come, and crickets, the herons build their nests in the deep dark woods. The butterflies would dance their merry jug across the lawns, and spiders spin foggy webs, and small startled rabbits who had no business to come trespassing poke their faces through the crowded shrubs. There would be lilac, and honeysuckle still, and the white magnolia buds unfolding slow and tight beneath the dining-room window. No one would ever hurt Manderley. It would lie always in its hollow like an enchanted thing, guarded by the woods, safe, secure, while the sea broke and ran and came again in the little shingle bays below.

To destroy a wild thing for pride seems a potent act of domination.

Who are the ghosts again, us or our dead? Maybe they imagined us first, maybe we were conjured out of the deep past by other minds.

It was bright again, as if England had forgotten how to rain

Dad and the Prof were talking about fighting, the way men do when they're really fighting about talking.

I think you cannot own a thing and love it at the same time.

But I think I cannot own a thing and love it at the same time. Owning diminishes the innate sovereignty of a thing, enriching the possessor and reducing the possessed. -- Barbara Kingsolver writes, 'It's going to take the most selfless kind of love to do right by what we cherish and give it the protection to flourish outside our possessive embrace'.

Time can vanish in exploring these places, like wandering through an art gallery of unexpected forms and colors. Sometimes, I look up from my microscope at the end of an hour, and I’m taken aback at the plainness of the ordinary world, the drab and predictable shapes.

I'm told that the Chinese character for catastrophe is the same as that which represents opportunity.

The combination of circumstances which allows it to exist at all are so implausible that Schistostega is rendered much more precious than gold.... It’s life, and ours, exist only because of a myriad of synchronicities that bring us to this particular place at this particular moment. In return for such a gift, the only sane response is to glitter in reply.

Biologists may make unsuitable dinner conversation, but we are seldom bored.

This is the electricity of photosynthesis, turning sun into sugar, spinning straw into gold.

Memories can settle into a place: fog that lingers long after it should have blown out to sea, voices from the past that take root in the foundation of a town, whispers and accusations that grow in the moss along the sidewalks and up the walls of old homes.

It was possible in this wonderful city for that nameless little boy -for any of its millions- to have a decent chance to scale the walls and achieve what they wished. Wealth, rank or an imposing name counted for nothing. The only credential the city asked was the boldness to dream. For those who did, it unlocked its gates and its treasures, not caring who they were or where they came from.

But before she could speak another word, he crushed his mouth against hers. It was so unexpected that she hadn't the chance to even think of pushing him away. His body pressed her firmly against the rough cave wall. His hands slid down to her waist to pull her closer to him. And just like that, with his proximity, with his kiss, he managed to fill her every sense. He was smoke from the campfire, he was leaves and moss and the night itself. There was nothing gentle in the rebel's kiss, nothing sweet or kind. It was like nothing she'd ever experience before, and so very dangerous—every bit as deadly as the kiss of an arrow. Finally, he pulled back just a little, his dark eyes glazed as if half drunk. "Princess..." He cupped her face between his hands, his breath ragged. Her lips felt bruised. "I suppose that's how Paelsians show their anger and frustration?

Infrared satellite imagery, optical telescopes, and the Hubbell space telescope bring vastness within our visual sphere. Electron microscopes let us wander the remote universe of our own cells. But at the middle scale, that of the unaided eye, our senses seem to be strangely dulled. With sophisticated technology, we strive to see what is beyond us, but are often blind to the myriad sparkling facets that lie so close at hand. We thing we're seeing when we've only scratched the surface. Our acuity at this middle scale seems diminished, not by any failing of the eyes, but by the willingness of the mind. Has the power of our devices led us to distrust our unaided eyes? Or have we become dismissive of what takes no technology but only time and patience to perceive? Attentiveness alone can rival the most powerful magnifying lens.

In a New York where people are reconceived as consumers, not citizens, it is most profitable to keep everyone moving and disconnected. This is what the hyper-globalized, ultracompetitive city looks and feels like. I saw the perfect word for it scrawled on a wall in the East Village: blandalism. Sleepwalking inside digital bubbles, the iZombies hustle through the city without looking. And you can’t really have compassion for a thing—or a person—without beholding it.

The river - with the sunlight flashing from its dancing wavelets, gilding gold the grey-green beech-trunks, glinting through the dark, cool wood paths, chasing shadows o'er the shallows, flinging diamonds from the mill-wheels, throwing kisses to the lilies, wantoning with the weirs' white waters, silvering moss-grown walls and bridges, brightening every tiny townlet, making sweet each lane and meadow, lying tangled in the rushes, peeping, laughing, from each inlet, gleaming gay on many a far sail, making soft the air with glory - is a golden fairy stream.

Most spores can’t germinate in the leafy carpet of their own parents

Haven't you been listening, people don't bother to hurt what they don't love. To sacrifice it.

Oak bark, spider silk, ground moss, saltweed— grip close, bind tight, hold fast, close up, bar the door, lock the gate, stiffen the blood-wall, dry the gore-flood.

Our snow was not only shaken from whitewash buckets down the sky, it came shawling out of the ground and swam and drifted out of the arms and hands and bodies of the trees; snow grew overnight on the roofs of houses like a pure and grandfather moss, minutely white-ivied the walls and settled on the postman, opening the gate, like a dumb, numb thunderstorm of white, torn Christmas cards.

It’s life, and ours, exist only because of a myriad of synchronicities that bring us to this particular place at this particular moment. In return for such a gift, the only sane response is to glitter in reply.

Between takeoff and landing, we are each in suspended animation, a pause between chapters of our lives. When we stare out the window into the sun's glare, the landscape is only a flat projection with mountain ranges reduced to wrinkles in the continental skin. Oblivious to our passage overhead, other stories are unfolding beneath us. Blackberries ripen in the August sun, a woman packs a suitcase and hesitates at her doorway, a letter is opened and the most surprising photograph slides from between the pages. But we are moving too fast and we are too far away; all the stories escape us, except our own. When I turn away from the window, the stories recede into the two-dimensional map of green and brown below. Like a trout disappearing into the shade of an overhanging bank, leaving you staring at the flat surface of the water and wondering if you saw it at all.

This part of the city was aggressively gray, but green life still struggled into being: moss on walls, weeds in guttering, the occasional forlorn tree. I have always lived in urban areas, but I feel the need for green as a visceral longing.

With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city. Omelas, bright-towered by the sea. The rigging of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. Some were decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry women carrying their babies and chatting as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance.

The edge of a leaf is not simply uneven; there is a glossary of specific words for the appearance of a leaf margin: dentate for large, coarse teeth, serrate for a sawblade edge, serrulate if the teeth are fine and even, ciliate for a fringe along the edge. A leaf folded by accordion pleats is plicate, complanate when flattened as if squashed between two pages of a book. Every nuance of moss architecture has a word.

I'm always trying to do what dead people tell me. And specially when I'm making a replica, spending days looking at and feeling and listening to some prehistoric object, I'm kind of trying to think their thoughts too. I mean, it would make sense, wouldn't it, that when I really concentrate on the spaces between decorative dots or the exact tension of a twist, my mind's doing what their minds did while my hands do what their hands did.

Failure Because God put His adamantine fate Between my sullen heart and its desire, I swore that I would burst the Iron Gate, Rise up, and curse Him on His throne of fire. Earth shuddered at my crown of blasphemy, But Love was as a flame about my feet; Proud up the Golden Stair I strode; and beat Thrice on the Gate, and entered with a cry -- All the great courts were quiet in the sun, And full of vacant echoes: moss had grown Over the glassy pavement, and begun To creep within the dusty council-halls. An idle wind blew round an empty throne And stirred the heavy curtains on the walls.

Mosses are so little known by the general public that only a few have been given common names. Most are known solely by their scientific Latin names, a fact which discourages most people from attempting to identify them. But I like the scientific names, because they are as beautiful and intricate as the plants they name. Indulge yourself in the words, rhythmic and musical, rolling off your tongue: Dolicathecia striatella, Thuidium delicatulum, Barbula fallax.

A crease of disquiet snakes across his brow. 'Your father plays with fire to gather them together like that. They are too clever. They form alliances. They develop - ambitions.' He looks so solemn I wish to soothe his fears. 'You worry too much, I am sure,' I say lightly. 'After all, they are still rooted in the ground, are they not? They cannot pull themselves up and march around wrecking havoc, like an invading army.' 'Maybe,' he says, though he sounds unsure. 'I have never met their like before; that is all. It disturbs me.' He gestures around. 'And not only me. The forests, the fields, the moss that grows on the rocks - none of them are happy about that garden. Nature would have kept those plants safely apart, scattered over the continents, separated by oceans. But your father has summoned them from the corners of the earth and locked them together, side by side, hidden behind walls, where they can grow in secret. It is wrong, Jessamine - I fear it is dangerous -

I dreamed I stood upon a little hill, And at my feet there lay a ground, that seemed Like a waste garden, flowering at its will With buds and blossoms. There were pools that dreamed Black and unruffled; there were white lilies A few, and crocuses, and violets Purple or pale, snake-like fritillaries Scarce seen for the rank grass, and through green nets Blue eyes of shy peryenche winked in the sun. And there were curious flowers, before unknown, Flowers that were stained with moonlight, or with shades Of Nature's willful moods; and here a one That had drunk in the transitory tone Of one brief moment in a sunset; blades Of grass that in an hundred springs had been Slowly but exquisitely nurtured by the stars, And watered with the scented dew long cupped In lilies, that for rays of sun had seen Only God's glory, for never a sunrise mars The luminous air of Heaven. Beyond, abrupt, A grey stone wall. o'ergrown with velvet moss Uprose; and gazing I stood long, all mazed To see a place so strange, so sweet, so fair. And as I stood and marvelled, lo! across The garden came a youth; one hand he raised To shield him from the sun, his wind-tossed hair Was twined with flowers, and in his hand he bore A purple bunch of bursting grapes, his eyes Were clear as crystal, naked all was he, White as the snow on pathless mountains frore, Red were his lips as red wine-spilith that dyes A marble floor, his brow chalcedony. And he came near me, with his lips uncurled And kind, and caught my hand and kissed my mouth, And gave me grapes to eat, and said, 'Sweet friend, Come I will show thee shadows of the world And images of life. See from the South Comes the pale pageant that hath never an end.' And lo! within the garden of my dream I saw two walking on a shining plain Of golden light. The one did joyous seem And fair and blooming, and a sweet refrain Came from his lips; he sang of pretty maids And joyous love of comely girl and boy, His eyes were bright, and 'mid the dancing blades Of golden grass his feet did trip for joy; And in his hand he held an ivory lute With strings of gold that were as maidens' hair, And sang with voice as tuneful as a flute, And round his neck three chains of roses were. But he that was his comrade walked aside; He was full sad and sweet, and his large eyes Were strange with wondrous brightness, staring wide With gazing; and he sighed with many sighs That moved me, and his cheeks were wan and white Like pallid lilies, and his lips were red Like poppies, and his hands he clenched tight, And yet again unclenched, and his head Was wreathed with moon-flowers pale as lips of death. A purple robe he wore, o'erwrought in gold With the device of a great snake, whose breath Was fiery flame: which when I did behold I fell a-weeping, and I cried, 'Sweet youth, Tell me why, sad and sighing, thou dost rove These pleasent realms? I pray thee speak me sooth What is thy name?' He said, 'My name is Love.' Then straight the first did turn himself to me And cried, 'He lieth, for his name is Shame, But I am Love, and I was wont to be Alone in this fair garden, till he came Unasked by night; I am true Love, I fill The hearts of boy and girl with mutual flame.' Then sighing, said the other, 'Have thy will, I am the love that dare not speak its name.

About a stone-cast from the wall A sluice with blacken'd waters slept, And o'er it many, round and small, The cluster'd marish-mosses crept.

… although I found I could see well enough until I came within sight of the fire. Light blinds you; there’s a lot you miss by gathering at the fireside.

All amphibians are tethered to the pond by their evolutionary history, the most primitive vertebrates to make the transition from the aquatic life of their ancestors to life on land.

I knew better than to challenge him; even the word 'Negro' was already some concession to my ideas because he preferred to use a more offensive term and wait, chin raised, for a reaction.

The mutuality of moss and water. Isn’t this the way we love, the way love propels our own unfolding? We are shaped by our affinity for love, expanded by its presence and shrunken by its lack.

We dont even know their names anymore. The average person knows the name of less than a dozen plants, and this includes such categories as 'Christmas Tree'. Losing their names is a step in losing respect.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, ‘a physiological delight’ he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves.

Occasionally some people think more with their right brains than with their left.  They are often our greatest artists.  They are also often considered insane.  But the biggest difference is with age.  We forget how to listen to our right brains with time.  We imprison them with logic and prejudice until our greatest source of creativity and brilliance is locked behind a wall of assumption and primitive common sense, and then it is heard only as an echo.

...forests exhibit remarkable resilience in the face of disaster. I'm told that the Chinese character for catastrophe is the same as that which represents the word opportunity. And the blowdown, while catastrophic, presented opportunity for many...

In the sky there is nobody asleep. Nobody, nobody. Nobody is asleep. The creatures of the moon sniff and prowl about their cabins. The living iguanas will come and bite the men who do not dream, and the man who rushes out with his spirit broken will meet on the street corner the unbelievable alligator quiet beneath the tender protest of the stars. Nobody is asleep on earth. Nobody, nobody. Nobody is asleep. In a graveyard far off there is a corpse who has moaned for three years because of a dry countryside on his knee; and that boy they buried this morning cried so much it was necessary to call out the dogs to keep him quiet. Life is not a dream. Careful! Careful! Careful! We fall down the stairs in order to eat the moist earth or we climb to the knife edge of the snow with the voices of the dead dahlias. But forgetfulness does not exist, dreams do not exist; flesh exists. Kisses tie our mouths in a thicket of new veins, and whoever his pain pains will feel that pain forever and whoever is afraid of death will carry it on his shoulders. One day the horses will live in the saloons and the enraged ants will throw themselves on the yellow skies that take refuge in the eyes of cows. Another day we will watch the preserved butterflies rise from the dead and still walking through a country of gray sponges and silent boats we will watch our ring flash and roses spring from our tongue. Careful! Be careful! Be careful! The men who still have marks of the claw and the thunderstorm, and that boy who cries because he has never heard of the invention of the bridge, or that dead man who possesses now only his head and a shoe, we must carry them to the wall where the iguanas and the snakes are waiting, where the bear’s teeth are waiting, where the mummified hand of the boy is waiting, and the hair of the camel stands on end with a violent blue shudder. Nobody is sleeping in the sky. Nobody, nobody. Nobody is sleeping. If someone does close his eyes, a whip, boys, a whip! Let there be a landscape of open eyes and bitter wounds on fire. No one is sleeping in this world. No one, no one. I have said it before. No one is sleeping. But if someone grows too much moss on his temples during the night, open the stage trapdoors so he can see in the moonlight the lying goblets, and the poison, and the skull of the theaters - City That Does Not Sleep

Now if we go along this track we’ll come to the road and then it’s all of ten minutes to the shop, only we’ll look right prats if anyone sees us. We look right prats whether anyone sees us or not, I said, and they’ve probably heard all about it by now anyway, round here.

With blackest moss the flower-plots Were thickly crusted, one and all: The rusted nails fell from the knots That held the pear to the gable-wall. The broken sheds look'd sad and strange: Unlifted was the clinking latch; Weeded and worn the ancient thatch Upon the lonely moated grange.

Stunning cliffs and stone walls, festooned with vines and moss, reach from the promenade to the top tier, which runs along Riverside Drive. Can parks be emotional? Feels that way, its beauty is haunting. I read Riverside Park inspired Edgar Allan Poe to write “The Raven.” Makes sense.

Often, half in a bay of the mountains and half on a headland, a small and nearly amphibian Schloss mouldered in the failing light among the geese and the elder-bushes and the apple trees. Dank walls rose between towers that were topped with cones of moulting shingle. Weeds throve in every cranny. Moss mottled the walls. Fissures branched like forked lightning across damp masonry which the rusting iron clamps tried to hold together, and buttresses of brick shored up the perilously leaning walls. The mountains, delaying sunrise and hastening dusk, must have halved again the short winter days. Those buildings looked too forlorn for habitation. But, in tiny, creeper-smothered windows, a faint light would show at dusk. Who lived in those stone-flagged rooms where the sun never came? Immured in those six-foot-thick walls, overgrown outside with the conquering ivy and within by genealogical trees all moulting with mildew? My thoughts flew at once to solitary figures…a windowed descendant of a lady-in-waiting at the court of Charlemagne, alone with the Sacred Heart and her beads, or a family of wax-pale barons, recklessly inbred; bachelors with walrus moustaches, bent double with rheumatism, shuddering from room to room and coughing among their lurchers, while their cleft palates called to each other down corridors that were all but pitch dark.

Hideous, she thinks suddenly, joyfully. Hideous. She slices into the crease. She watches, transfixed, as the blood appears. She presses her hand, still trembling, to the wall; she imagines the stone sucking it in, with the moss and the mildew; she imagines it traveling, through the rock and the earth, straight into Sebastian Webster's bones.

Dad and I find ash, I said, up on the moor tops at home, people say they want to be scattered there as if scattering is making something go away entirely and then we sit down with our sandwiches and realise we're in the middle of someone's granny, of course they always choose the places you'd stop for lunch, somewhere on the top of a ridge with a nice view.

Mosses are often described by what they lack, in comparison to the more familiar higher plants. They lack flowers, fruits, and seeds and have no roots. They have no vascular system, no xylem and phloem to conduct water internally. They are the most simple of plants, and in their simplicity, elegant. With just a few rudimentary components of stem and leaf, evolution has produced some 22,000 species of moss worldwide.

you know the sun is in the south-east and you are on the east coast and that means as long as the sun is in both your eyes but bothering the right one more you will soon come to the water. You’re so good at this stuff, Silvie, said Molly, I suppose your dad taught you. No, I thought, I just know the approximate shape of this island and that the sun rises in the east and I didn’t need to be taught either of those things,

Eleven years she had lived in the dark house and its gloomy garden. He was jealous of the very light and air getting to her, and they kept her close. He stopped the wide chimneys, shaded the little windows, left the strong-stemmed ivy to wander where it would over the house-front, the moss to accumulate on the untrimmed fruit trees in the red-walled garden, the weeds to over-run its green and yellow walks. He surrounded her with images of sorrow and desolation. He caused her to be filled with fears of the place and of the stories that were told of it, and then on pretext of correcting them, to be left in it in solitude, or made to shrink about it in the dark. When her mind was most depressed and fullest of terrors, then, he would come out of one of the hiding-places from which he overlooked her, and present himself as her sole resource.

The fairy let her go and pulled aside a piece of bright gold-and-pink silk hanging on the wall. Behind it was the fairy's own private room. She had a soft bed of bright green moss with several iridescent feathers for a counterpane. A shelf mushroom served as an actual shelf displaying an assortment of dried flowers and pretty gewgaws the fairy had collected. There was a charming little dining table, somewhat bold in irony: It was the cheery but deadly red-and-white amanita. The wide top was set with an acorn cap bowl and jingle shell charger. In the corner, a beautifully curved, bright green leaf collected drops from somewhere in the celling much like the water barrel did, but this was obviously for discreet fairy bathing. An assortment of tiny buds, rough seeds, and spongy moss were arranged neatly on a piece of gray driftwood nearby to aid in cleansing.

Huge live oaks, hung with Spanish moss, partly hid a stately white Southern mansion in need of paint. Wisteria blossoms hung bell-like from vines climbing the walls. The Hardys mounted the steps of the still stately portico, supported by high, once-white round columns. Frank knocked repeatedly on the door. There was no response. As they circled the neglected structure, they rapped on windows, called out, pounded on side and back doors, with no results.

Smoke By Théophile Gautier Translated by Norman R. Shapiro Over there, trees are sheltering A hunchedback hut... A slum, no more... Roof askew, walls and wainscoting Falling away... Moss hides the door. Only one shutter, hanging... But Seeping over the windowsill, Like frosted breath, proof that this hut, This slum, is living, breathing still. Corkscrew of smoke... A wisp of blue Escapes the hovel, whose soul it is... Rises to God himself, and who Receives the news and makes it his.

It was mossed and lichened with antiquity; and there was a hint of beginning dilapidation in the time-worn stone of the walls. The formal garden had gone a little wild from neglect; the trimmed hedges and trees had taken on fantastic sprawling shapes; and evil, poisonous weeds had invaded the flower-beds. There were statues of cracked marble and verdigris-eaten bronze amid the shrubbery; there were fountains that had long ceased to flow; and dials on which the foliage-intercepted sun no longer fell.

A LITTLE while, a little while, The weary task is put away, And I can sing and I can smile, Alike, while I have holiday. Where wilt thou go, my harassed heart-- What thought, what scene invites thee now What spot, or near or far apart, Has rest for thee, my weary brow? There is a spot, 'mid barren hills, Where winter howls, and driving rain; But, if the dreary tempest chills, There is a light that warms again. The house is old, the trees are bare, Moonless above bends twilight's dome; But what on earth is half so dear-- So longed for--as the hearth of home? The mute bird sitting on the stone, The dank moss dripping from the wall, The thorn-trees gaunt, the walks o'ergrown, I love them--how I love them all! Still, as I mused, the naked room, The alien firelight died away; And from the midst of cheerless gloom, I passed to bright, unclouded day. A little and a lone green lane That opened on a common wide; A distant, dreamy, dim blue chain Of mountains circling every side. A heaven so clear, an earth so calm, So sweet, so soft, so hushed an air; And, deepening still the dream-like charm, Wild moor-sheep feeding everywhere. THAT was the scene, I knew it well; I knew the turfy pathway's sweep, That, winding o'er each billowy swell, Marked out the tracks of wandering sheep. Could I have lingered but an hour, It well had paid a week of toil; But Truth has banished Fancy's power: Restraint and heavy task recoil. Even as I stood with raptured eye, Absorbed in bliss so deep and dear, My hour of rest had fleeted by, And back came labour, bondage, care.

I think it’s fair to say that if the Western world has an ilbal, it is science. Science lets us see the dance of the chromosomes, the leaves of moss, and the farthest galaxy. But is it a sacred lens like the Popul Vuh? Does science allow us to perceive the sacred in the world, or does it bend light in such a way as to obscure it? A lens that brings the material world into focus but blurs the spiritual is the lens of a people made of wood. It is not more data that we need for our transformation to people of corn, but more wisdom.

The Haven is the name of Mr. Josiah Amberley’s house,” I explained. “I think it would interest you, Holmes. It is like some penurious patrician who has sunk into the company of his inferiors. You know that particular quarter, the monotonous brick streets, the weary suburban highways. Right in the middle of them, a little island of ancient culture and comfort, lies this old home, surrounded by a high sun-baked wall mottled with lichens and topped with moss, the sort of wall—” “Cut out the poetry, Watson,” said Holmes severely. “I note that it was a high brick wall.

While the exterior of the Citadel is formed of giant slabs of clear, bright ice, some of the interior walls are enhanced by having things frozen inside the ice, resulting in something like wallpaper. Stones suspended, as though forever in midfall. Bones, picked cleaned, occasionally used to form sculptures. Roses, their petals forever preserved in their full flowering. The room's walls have two faerie women frozen inside them, preserved so that they never decayed into moss and stone, like the rest of the Folk. Two faerie women, dressed in finery, crowns on their heads. The Hall of Queens.

We believe djinns moved into this palace around the time our las kings died, their hearts broken by the crooked victories of white men who claimed to be our rulers. No one knows where the djinns came from, if Allah-Ta'ala sent them, or if they were summoned here by the feverish utterances of the devout. They have been here for so long, they must watched the walls of this palace crumble, the pillars soften with moss and creepers, and pythons slither over cracked stones like dreams wavering in the light of dawn. Every year they must feel the wind trembling the champa trees in the garden, shearing flowers as fragrant as vials of attar.

CHANGGAN MEMORIES When first my hair began to cover my forehead, I picked and played with flowers before the gate. You came riding on a bamboo horse, And circled the walkway, playing with green plums. We lived together, here in Changgan county, Two children, without the least suspicion. When I was fourteen, I became your wife, So shy that still my face remained unopened. I bowed my head towards the shadowed wall, And called one thousand times, I turned not once. At 15 I began to lift my brows, And wished to be with you as dust with ashes. You always kept your massive pillar faith, I had no need to climb the lookout hill. When I was sixteen, you went far away, To Yanyudui, within the Qutang gorge. You should not risk the dangerous floods of May, Now from the sky, the monkeys cry in mourning. Before the gate, my pacing's left a mark, Little by little, the green moss has grown. The moss is now too deep to sweep away, And leaves fall in the autumn's early winds. This August, all the butterflies are yellow, A pair fly over the western garden's grass. I feel that they are damaging my heart, Through worrying, my rosy face grows old. When you come down the river from Sanba, Beforehand, send a letter to your home. We'll go to meet each other, however far, I'll come up to Changfengsha.

Most Ballinacroagh natives, though, welcomed the dramatic change in climate, and the exuberant pronouncement of sunshine and flora that came with it. Unnamed buds appeared overnight along ivy-covered walls; plain cottages awoke to bursts of magenta, sienna, and lilac flowers that had been slumbering far too long under moss-ridden stones. The soggy grass of surrounding glens rippled with tones of gold, baking in the sun, while the sky over Ballinacroagh took on a shade of untouched blue that previously had been seen only in the cobalt of Pompeii murals. Not surprisingly, this unexpected homage to her Italian homeland gave Estelle Delmonico much reason to rejoice.

High up, crowning the grassy summit of a swelling mound whose sides are wooded near the base with the gnarled trees of the primeval forest, stands the old chateau of my ancestors. For centuries its lofty battlements have frowned down upon the wild and rugged countryside about, serving as a home and stronghold for the proud house whose honoured line is older even than the moss-grown castle walls. These ancient turrets, stained by the storms of generations and crumbling under the slow yet mighty pressure of time, formed in the ages of feudalism one of the most dreaded and formidable fortresses in all France. From its machicolated parapets and mounted battlements Barons, Counts, and even Kings had been defied, yet never had its spacious halls resounded to the footsteps of the invader.

No, I’d open a refuge for mothers. A retreat. Concrete 1970s brutalism, an anti-domestic architecture without flounces. Something low with big windows and wide corridors, carpets to deaden sound. There will be five or six rooms off the corridor, each with a wall of glass and sliding doors looking on to a cold, grey beach. Each room has a single bed in the corner, a table and chair. You may bring your laptop but there is no internet access and no telephone. There are books with a body count of zero and no suffering for anyone under the age of eight. A cinema where everything you wanted to see in the last eight years is shown at a time that allows you to have an early night afterwards. And the food, the kind of food you’re pleased to have eaten as well as pleased to eat, is made by a chef, a childless male chef, and brought to your room. You may ask him for biscuits at any moment of the day or night, send your mug back because you dislike the shape of the handle, and change your mind after ordering dinner. And there is a swimming pool, lit from below in a warm, low-ceilinged room without windows, which may be used by one mummy at a time to swim herself into dream. Oh, fuck it, I am composing a business plan for a womb with a view. So what? I’ll call it Hôtel de la Mère and the only real problem is childcare. Absent, children cause guilt and anxiety incompatible with the mission of the Hôtel; present, they prevent thought or sleep, much more swimming and the consumption of biscuits. We need to turn them off for a few days, suspend them like computers. Make them hibernate. You can’t uninvent children any more than you can uninvent the bomb.

Here at the tip of Louisiana, it’s as if the sky and swamp and wild green trees know Holy Fire demands we lead staid, ascetic lives and try to make up for it, giving us all the splendor and decadence we aren’t supposed to want. Sunrises and sunsets are riots of color, the gulf sapphire blue, the black swamp laced with velvet-green lily pads, tall trees almost floating out of the depths. Trees everywhere, in fact: bending over dirt roads and bracing the shore and thick as a wall of sentries in the woods, dripping with Spanish moss. All this beauty stirs the soul, making one feel the pinprick presence of another order: God, perhaps, but maybe also something darker, secret beings with lives that unfold in the slivers between trees, whose slitted eyes blink open at night in the depths of the swamp, yellow and ancient as alligators’.

Sshhhhh from rain, pitpitpit from hemlock, bloink from maple, and lastly popp of falling alder water. Alder drops make a slow music. It takes time for fine rain to traverse the scabrous rough surface of an alder leaf. The drops aren't as big as maple drops, not enough to splash, but the popp ripples the surface and sends out concentric rings. I close my eyes and listen to the voices of the rain. The reflecting surface of the pool is textured with their signatures, each one different in pace and resonance. Every drip it seems is changed by its relationship with life, whether it encounters moss or maple or fir bark or my hair. And we think of it as simply rain, as if it were one thing, as if we understood it. I think that moss knows rain better than we do, and so do maples. Maybe there is no such thing as rain; there are only raindrops, each with its own story.

although there was no definite religious sentiment mingled with it, there was a continual perception of Sanctity in the whole of nature, from the slightest thing to the vastest; - an instinctive awe, mixed with delight; an indefinable thrill, such as we sometimes imagine to indicate the presence of a disembodied spirit. I could only feel this perfectly when I was alone … when after begin some time away from the hills, I first got to the shore of a mountain river … or when I saw the first swell of distant land against the sunset, or the first low broken wall, covered with mountain moss. I cannot in the least describe the feeling … for I am afraid, no feeling is describable. If we had to explain even the sense of bodily hunger to a person who had never felt it, we should be hard put to it for words; and this joy in nature seemed to me to come of a sort of heart-hunger, satisfied with the presence of a Great and Holy Spirit …

   I was soon bored, for my friend Moschku had his hands full with serving his guests with brandy and gossip, and only seldom did he hop over the bar to my table, sink his verbal claws into me, and attempt a learned conversation about politics and literature.    I was bored even without that and looked around the room.    Its basic color was green.    The frugally trimmed petroleum lamp filled the room with greenish light. Green mold lay on the walls, the great rectangular oven was lacquered green, and green moss grew out of Israel's fieldstone floor. Green sediment in the schnaps glasses, green oxidation on the small tin measuring glasses that the peasants drank out of when they walked up and put their copper coins down on the bar. A green vegetation covered the cheese that Moschku placed in front of me, and his wife was sitting behind the oven in a yellow nightgown with bluish green flowers and rocking her pale green child. Green in the Jew's careworn face, green around his small, restless eyes, around his thin, motionless nostrils, and in the mockingly twisted, sour corners of his mouth.

Ghost House I dwell in a lonely house I know That vanished many a summer ago, And left no trace but the cellar walls, And a cellar in which the daylight falls, And the purple-stemmed wild raspberries grow. O’er ruined fences the grape-vines shield The woods come back to the mowing field; The orchard tree has grown one copse Of new wood and old where the woodpecker chops; The footpath down to the well is healed. I dwell with a strangely aching heart In that vanished abode there far apart On that disused and forgotten road That has no dust-bath now for the toad. Night comes; the black bats tumble and dart; The whippoorwill is coming to shout And hush and cluck and flutter about; I hear him begin far enough away Full many a time to say his say Before he arrives to say it out. It is under the small, dim, summer star. I know not who these mute folk are Who share the unlit place with me- Those stones out under the low-limbed tree Doubtless bear names that the mosses mar. They are tireless folk, but slow and sad, Though two, close-keeping, are lass and lad- With none among them that ever sings, And yet, in view of how many things, As sweet companions as might be had.

At the end of the oak-lined avenue, the girls came to a weather-stained loggia of stone. Its four handsomely carved pillars rose to support a balcony over which vines trailed. Steps led to the upper part. After mounting to the balcony, Nancy and her friends obtained a fine view of the nearby gardens. They had been laid out in formal sections, each one bounded by a stone wall or an un-trimmed hedge. Here and there were small circular pools, now heavy with lichens and moss, and fountains with leaf-filled basins. Over the treetops, about half a mile away, the girls could see two stone towers. “That’s the castle,” said George. Amid the wild growth, Nancy spotted a bridge. “Let’s go that way,” she suggested, starting down from the balcony. In a few minutes the trio had crossed the rickety wooden span. Before them lay a slippery moss-grown path. “The Haunted Walk,” Nancy read aloud the name on a rustic sign. “Why not try another approach?” Bess said with a shiver. “This garden looks spooky enough without deliberately inviting a meeting with ghosts!” “Oh, come on!” Nancy laughed, taking her friend firmly by the arm. “It’s only a name. Besides, the walk may lead to something interesting.

It was a wondrous sight. The wood was green as mosses of the Icy Glen; the trees stood high and haughty, feeling their living sap; the industrious earth beneath was as a weaver’s loom, with a gorgeous carpet on it, whereof the ground-vine tendrils formed the warp and woof, and the living flowers the figures. All the trees, with all their laden branches; all the shrubs, and ferns, and grasses; the message-carrying air; all these unceasingly were active. Through the lacings of the leaves, the great sun seemed a flying shuttle weaving the unwearied verdure. Oh, busy weaver! unseen weaver!—pause!—one word!—whither flows the fabric? what palace may it deck? wherefore all these ceaseless toilings? Speak, weaver!—stay thy hand!—but one single word with thee! Nay—the shuttle flies—the figures float from forth the loom; the fresher-rushing carpet for ever slides away. The weaver-god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it. For even so it is in all material factories. The spoken words that are inaudible among the flying spindles; those same words are plainly heard without the walls, bursting from the opened casements. Thereby have villainies been detected. Ah, mortal! then, be heedful; for so, in all this din of the great world’s loom, thy subtlest thinkings may be overheard afar.

Over To Candleford Chapter XXVIII: Growing Pains "This accumulated depression of months slid from her at last in a moment. She had run out into the fields one day in a pet and was standing on a small stone bridge looking down on brown running water flecked with cream-coloured foam. It was a dull November day with grey sky and mist. The little brook was scarcely more than a trench to drain the fields; but overhanging it were thorn bushes with a lacework of leafless twigs; ivy had sent trails down the steep banks to dip in the stream, and from every thorn on the leafless twigs and from every point of the ivy leaves water hung in bright drops, like beads. A flock of starlings had whirred up from the bushes at her approach and the clip, clop of a cart-horse's hoofs could be heard on the nearest road, but these were the only sounds. Of the hamlet, only a few hundred yards away, she could hear no sound, or see as much as a chimney-pot, walled in as she was by the mist. Laura looked and looked again. The small scene, so commonplace and yet so lovely, delighted her." It was so near the homes men and yet so far removed from their thoughts. The fresh green moss, the glistening ivy, and the reddish twigs with their sparkling drops seemed to have been made for her alone and the hurrying, foam-flecked water seemed to have some message for her. She felt suddenly uplifted. The things which had troubled her troubled her no more. She did not reason. She had already done plenty of reasoning. Too much, perhaps. She simply stood there and let it all sink in until she felt that her own small affairs did not matter. Whatever happened to her, this, and thousands of other such small, lovely sights would remain and people would come suddenly upon them and look and be glad. A wave of pure happiness pervaded her being, and, although it soon receded, it carried away with it her burden of care. Her first reaction was to laugh aloud at herself. What a fool she had been to make so much of so little.

It was said that the Old Folk controlled the power of fire, among other things, but that was in the Long and Long Ago. Before that, the fathers of the Old Folk caught a spark with flint and steel and their own desire to live. It was also said that the world was a great wheel, and everything came round to what it once had been, and so Steven Boughmount knelt in the snow with rocks in his hands, trying to catch a flame. He was having little luck. Just over the low hills, beyond this scrub of forest, the village was warm and sleeping behind its wall. That’s where I should be, Steven thought as he scraped the edge of one rock against the other. Not in bed, not yet, but stretched out in my chair with my feet up, a pipe smoking just right in my hand and Heather curled up beside me. The boys are all asleep, but maybe we’ll stay up for a while. Maybe we’ll move to the bedroom, maybe not. That’s where I should be, not up to my ass in snow trying to light a fire. “C’mon, bastard,” he said, and drug the sharp edge of the rock in his right hand against the flat of the one in his left. A white spark flew, and then died before it could reach the stripped branches and dried moss he had laid out on the frozen ground. Snow crunched somewhere off to the left of him. Steven heard soft, bare footsteps. They were coming, all right. And they were in a hurry, running toward a village protected by two drunks on either side of a leaning gate. That was why Steven sat in the snow. When the Guards slept, the Hunters went to work. And what sounded like a whole clan of goblins was passing him by because he couldn’t get a damn fire lit. Steven drew his sword. It was called Fangodoom, given to him by his mother just before she died. Fangodoom was a dwarf blade, of steel mined and forged deep within the Lyme Mountains centuries ago. Goblins near, the blade all but gleamed though there wasn’t any moon. Again he wondered if this would be the last time, and again he knew that if it was, it was. His hand turned into a fist on the hilt of his weapon, and he prayed. “Lord, make me Your hammer.

Sleepless City (Brooklyn Bridge Nocturne)" Out in the sky, no one sleeps. No one, no one. No one sleeps. Lunar creatures sniff and circle the dwellings. Live iguanas will come to bite the men who don’t dream, and the brokenhearted fugitive will meet on street corners an incredible crocodile resting beneath the tender protest of the stars. Out in the world, no one sleeps. No one, no one. No one sleeps. There is a corpse in the farthest graveyard complaining for three years because of an arid landscape in his knee; and a boy who was buried this morning cried so much they had to call the dogs to quiet him. Life is no dream. Watch out! Watch out! Watch out! We fall down stairs and eat the humid earth, or we climb to the snow’s edge with the choir of dead dahlias. But there is no oblivion, no dream: raw flesh. Kisses tie mouths in a tangle of new veins and those in pain will bear it with no respite and those who are frightened by death will carry it on their shoulders. One day horses will live in the taverns and furious ants will attack the yellow skies that take refuge in the eyes of cattle. Another day we’ll witness the resurrection of dead butterflies, and still walking in a landscape of gray sponges and silent ships, we’ll see our ring shine and rose spill from our tongues. Watch out! Watch out! Watch out! Those still marked by claws and cloudburst, that boy who cries because he doesn’t know bridges exist, or that corpse that has nothing more than its head and one shoe— they all must be led to the wall where iguanas and serpents wait, where the bear’s teeth wait, where the mummified hand of a child waits and the camel’s fur bristles with a violent blue chill. Out in the sky, no one sleeps. No one, no one. No one sleeps. But if someone closes his eyes, whip him, my children, whip him! Let there be a panorama of open eyes and bitter inflamed wounds. Out in the world, no one sleeps. No one. No one. I’ve said it before. No one sleeps. But at night, if someone has too much moss on his temples, open the trap doors so he can see in moonlight the fake goblets, the venom, and the skull of the theaters.

I continued my explorations in a cobbled yard overlooked by broken doors and cracked windows. Pushing open a swollen door into a storeroom, I found a stream running across paving stones and a carpet of slippery green moss. My explorations took me beneath a gateway surmounted by a clock face, standing with hands fixed permanently at eleven o'clock. Beyond stood derelict stables; then the park opened up in an undulating vista, reaching all the way to a swathe of deep forest on the horizon. In the distance was the twinkle of the river that I realized must border my own land at Whitelow. The grass was knee-high and speckled with late buttercups, but I was transported by that first sight of the Delafosse estate. In its situation alone, the Croxons had chosen our new home well. I dreamed for a moment of myself and Michael making a great fortune, and no longer renting Delafosse Hall but owning every inch of it, my inheritance spinning gold from cotton. Turning back to view the Hall I took a sharp breath; it was as massive and ancient as a child's dream of a castle, the bulk of its walls carpeted in greenery, the diamond-leaded windows sparkling in picturesque stone mullions. True, the barley-twist chimneys leaned askew, and the roofs sagged beneath the weight of years, but the shell of it was magnificent. It cast a strange possessive mood upon me. I remembered Michael's irritation at the house the previous night, and his eagerness to leave. Somehow I had to entice Michael into this shared dream of a happy life here, beside me. Determined to explore the park, I followed the nearest path. After walking through a deep wood for a good while I emerged into the sunlight by a round hill surmounted by a two-story tower. A hunting lodge, Mrs. Croxon had called it, but I thought it more a folly. It had a fantastical quality, with four miniature turrets, each topped with a verdigris-tarnished dome. Above the doorway stood a sundial drawn upon a disc representing a blazing sun. It was embellished with a script I thought might be Latin: FERREA VIRGA EST, UMBRATILIS MOTUS. I wondered whether Michael might know the meaning, or Anne's husband perhaps. As for the sundial's accuracy, the morning light was too weak to cast a line of shadow.

I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE

For sure, it’s more art than science. But behind the beauty and drama of a compelling tale are some essential ingredients. Like unseen two-by-fours inside a wall, they’re what make the story stand straight and true.

Slowly England's sun was setting o'er the hilltops far away, Filling all the land with beauty at the close of one sad day; And its last rays kissed the forehead of a man and maiden fair― He with steps so slow and weary; she with sunny, floating hair; He with bowed head, sad and thoughtful, she, with lips all cold and white, Struggling to keep back the murmur, 'Curfew must not ring tonight!' 'Sexton,' Bessie's white lips faltered, pointing to the prison old, With its walls tall and gloomy, moss-grown walls dark, damp and cold ― 'I've a lover in the prison, doomed this very night to die At the ringing of the curfew, and no earthly help is nigh. Cromwell will not come till sunset;' and her lips grew strangely white, As she spoke in husky whispers, 'Curfew must not ring tonight!

being small,

There is no ecosystem on earth where mosses achieve greater prominence than in a Sphagnum bog. There is more living carbon in Sphagnum moss than in any other single genus on the planet.

Their sole function is to hold water, lots of water. If you grab some Sphagnum from the seemingly solid surface of the bog, it comes up dripping. You can wring nearly a quart of water from a big handful of Sphagnum.

Only one cell in twenty is actually alive.

The lack of oxygen in the sodden mat below the living Sphagnum also slows the growth of microbes.

moving about, at a frenetic pace that reminded me of an anthill disturbed.

His goal was botanical accuracy in the plantings, and erasing the newness of the garden by introducing mosses throughout the landscape.

Iroquois women tell that any prohibitions on women’s activities in their moontime arose because women were at the height of their spiritual powers at this time, and the powerful flow of energy could disrupt the balance of energy around them.

Mosses have not chosen to be his companion, they have been bound.

poikilohydric

There is a positive feedback loop created between mosses and humidity. The more mosses there are, the greater the humidity.

So without the mosses, there would be fewer insects and stepwise up the food chain, a deficit of thrushes.

The indigestible fiber of mosses has been reported from a surprising location—the anal plug of hibernating bears.

lenticels

Goblins’ Gold is reduced to a fragile mat of translucent green filaments, the protonema.

the chloroplast converts the light energy into a stream of flowing electrons.

An Onondaga elder once explained to me that plants come to us when they are needed. If we show them respect by using them and appreciating their gifts they will grow stronger.

Maybe my presence need not be marked by more than my red sneaker. Just by continuing, I honor the lives of my ancestors and form the foundation for my grandchildren. We are profoundly responsible for one another. When we gather and dance in the elder’s footsteps, we honor that link. When we steward the earth for our children, we are living like Sphagnum.

On the first of October they arrived. They gathered in places they could see the whole island, the rolling hills and the farmland. Sitting in trees and on curbs, on barns and along low pasture walls. Across from the church and atop the green moss-glow of the epitaph in the shadows of the high street. In October the crows always came in threes.

Intimacy gives us a different way of seeing, when visual acuity is not enough.

He got out a sapphire mark for light, avoiding pools of water strewn with bones. A skull protruded from one, wavy green moss growing across the scalp like hair, lifespren bobbing above. Perhaps it should have felt eerie to walk through these darkened slots alone, but they didn’t bother Kaladin. This was a sacred place, the sarcophagus of the lowly, the burial cavern of bridgemen and spearmen who died upon lighteyed edicts, spilling blood down the sides of these ragged walls. This place wasn’t eerie; it was holy.

To ask a direct question is often considered rude. Knowledge cannot be taken; it must instead be given. Knowledge is bestowed by a teacher only when the student is ready to receive it. Much learning takes place by patient observation, discerning pattern and its meaning by experience. It is understood that there are many versions of truth, and that each reality may be true for each

There are the yellow beads of the stonecrops and the twisted flags of dried irises knuckled into the hollows of moss and rubbly limestone on the waves of the low wall the ivy has climbed along them where the weasel ran the light has kindled to gold the late leaves of the cherry tree over the lane by the house chimney there is the roof and the window looking out over the garden summer and winter there is the field below the house there is the broad valley far below them all with the curves of the river a strand of sky threaded through it and the notes of bells rising out of it faint as smoke and there beyond the valley above the rim of the wall the line of mountains I recognize like a line of writing that has come back when I had thought it was forgotten

I regarded plants as my teachers.

transept leading to the old cloister. The cloister itself, save for part of the old scriptorium and the boundary walls, had fallen to ruin centuries ago after the dissolution of the abbeys, leaving only a few moss-covered stumps of arches to bear witness to Henry VIII’s devastation.

Onondaga elder once explained to me that plants come to us when they are needed. If we show them respect by using them and appreciating their gifts they will grow stronger. They will stay with us as long as they are respected. But if we forget about them, they will leave.

The combination of circumstances which allows it to exist at all are so implausible that Schistostega is rendered much more precious than gold. Goblins’ or otherwise. Not only does its presence depend on the coincidence of the cave’s angle to the sun, but if the hills on the western shore were any higher the sun would set before reaching the cave. But for that small fact there would be no glitter. And only by virtue of the westerly winds steadily beating against the shore are there caves for Schistostega at all. Its life and ours exist only because of a myriad of synchronicities that bring us to this particular place at this particular moment. In return for such a gift, the only sane response is to glitter in reply.

God sees everybody. I wanted to be special. I guess I thought it would be very fine if everybody said, ‘There goes Brother Gregory; he may only be a second son, but he’s really illuminated.’ But that just turns out to be Pride.” He sighed. “I guess you can’t find God by looking.” “I think—I think you can by asking. And—by listening …” She curled up in the covers and closed her eyes again. Gregory tucked his knees up, and put his elbows on them. Resting his chin on his cupped hands, he peered into the impenetrable darkness. He listened. First he heard his own breath coming evenly in the quiet, and the soft pulse of Margaret’s beside him as she returned to sleep. Then he heard the little uneven puffs of the baby in the cradle, and through the walls the children and old Mother Sarah and Cook and even the neighbors. The little thoughts that cluttered his mind like busy ships moving to and fro in the harbor had been swept away in the listening, and he no longer sensed himself as he listened. He wasn’t turning over old sins like moss-covered stones to see what was underneath; he wasn’t addressing prayers to the Virgin or imagining the Passion; he wasn’t naming the seven virtues or praising the mighty deeds of God. Not a thought of last night’s supper or tomorrow’s breakfast flitted past like a distracting moth. And still he listened, until he could hear the deep and ageless sound of the earth breathing. And beyond that, nothing. As he entered Nothing, a strange warmth sprang up in his breast, somewhere around the heart. And he didn’t say, Aha! this is described in the Incendium Amoris but not in the Scala Claustralium, but instead, Let it be. It kindled and sprang higher until he was ablaze with it. It reached high up, outward, and inward into the Nothing. Pure love, on fire. It blazed, for a fragment of a moment, all the way to God, like a spark rising in the darkness. And as it died down, he could sense that everything on earth was softly glowing with it. “Astonishing,” said Gregory to himself as it faded and he returned. “I must try this again sometime,” he mumbled, as he rolled over and sleep overtook him.

Wendell pushed the door open. Light. It was full morning, and my vision flooded with color. Primarily green, but there was also the yellow of moss and lichened stone, the violet of bluebells clustered at the edge of the forest, the gold of sunbeams, and the rich azure of the sky. The door opened onto a hill in a small clearing, beyond which a wall of trees nodded their boughs in the wind, as if in greeting. The air was wet from a recent rain and heavy with the smell of green and growing things--- all as I remembered.

Words and names are the ways we humans build relationship, not only with each other, but also with plants.

He did not notice the minute, tearing destruction that time had wreaked on the house and that, after such a prolonged absence, would have looked like a disaster to any man who had kept his memories alive. He was not pained by the peeling of the whitewash on the walls or the dirty, cottony cobwebs in the corners or the dust on the begonias or the veins left on the beams by the termites or the moss on the hinges or any of the insidious traps that nostalgia offered him.

Slanting silver ropes slammed into loose earth, plowing it up like gunfire. The old house on the hill wore its steep, gabled roof pulled over its ears like a low hat. The walls, streaked with moss, had grown soft, and bulged a little with dampness that seeped up from the ground. The wild, overgrown garden was full of the whisper and scurry of small lives. In the undergrowth a rat snake rubbed itself against a glistening stone. Hopeful yellow bullfrogs cruised the scummy pond for mates. A drenched mongoose flashed across the leaf-strewn driveway.

The River-Merchant’s Wife: A Letter" After Li Po While my hair was still cut straight across my forehead I played about the front gate, pulling flowers. You came by on bamboo stilts, playing horse, You walked about my seat, playing with blue plums. And we went on living in the village of Chōkan: Two small people, without dislike or suspicion. At fourteen I married My Lord you. I never laughed, being bashful. Lowering my head, I looked at the wall. Called to, a thousand times, I never looked back. At fifteen I stopped scowling, I desired my dust to be mingled with yours Forever and forever, and forever. Why should I climb the look out? At sixteen you departed You went into far Ku-tō-en, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead. You dragged your feet when you went out. By the gate now, the moss is grown, the different mosses, Too deep to clear them away! The leaves fall early this autumn, in wind. The paired butterflies are already yellow with August Over the grass in the West garden; They hurt me. I grow older. If you are coming down through the narrows of the river Kiang, Please let me know beforehand, And I will come out to meet you As far as Chō-fū-Sa. Ezra Pound, Selected Poems (1957)

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet is truly a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Sōseki counted his morning trips to the toilet a great pleasure, “a physiological delight” he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves. As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kantō region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons. Here, I suspect, is where haiku poets over the ages have come by a great many of their ideas. Indeed one could with some justice claim that of all the elements of Japanese architecture, the toilet is the most aesthetic. Our forebears, making poetry of everything in their lives, transformed what by rights should be the most unsanitary room in the house into a place of unsurpassed elegance, replete with fond associations with the beauties of nature.

I look round for trees or walls that might be able to give me an indication of north from the growth patterns of moss,

At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them. Up on the little slope behind the houses, set in the sparse bright sprinkle of grass, is an ancient wooden capstan, cracked, with two long bleached handles and some melancholy stains, like dried blood, where the ironwork has rusted. The old man accepts a Lucky Strike. He was a friend of my grandfather. We talk of the decline in the population and of codfish and herring while he waits for a herring boat to come in. There are sequins on his vest and on his thumb. He has scraped the scales, the principal beauty, from unnumbered fish with that black old knife, the blade of which is almost worn away. Down at the water's edge, at the place where they haul up the boats, up the long ramp descending into the water, thin silver tree trunks are laid horizontally across the gray stones, down and down at intervals of four or five feet. Cold dark deep and absolutely clear, element bearable to no mortal, to fish and to seals . . . One seal particularly I have seen here evening after evening. He was curious about me. He was interested in music; like me a believer in total immersion, so I used to sing him Baptist hymns. I also sang "A Mighty Fortress Is Our God." He stood up in the water and regarded me steadily, moving his head a little. Then he would disappear, then suddenly emerge almost in the same spot, with a sort of shrug as if it were against his better judgment. Cold dark deep and absolutely clear, the clear gray icy water . . . Back, behind us, the dignified tall firs begin. Bluish, associating with their shadows, a million Christmas trees stand waiting for Christmas. The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.

It took ten minutes to get there. The cabin was in remarkably good shape. The ceiling and walls were all still standing, though the wooden steps leading to the door were little more than splinters. The Dolphin sign was still there, hanging vertically on one nail. Vines and moss and a mélange of vegetation I couldn’t name had not been dissuaded by the structure; they burrowed in, surrounded it, slithered through holes and windows, consumed the cabin so that it now looked like a natural part of the landscape.

More often than not, the wolves showed themselves in other ways—a track etched in the mud, a few scats here and there, the well-chewed, moss-covered bones of a Sitka blacktailed deer, and, most frequently and possibly most grand of all, a late-evening chorus of howls heard from the deck of our boat at a lonely anchorage. The sound echoed softly off the high granite walls of some slope or side hill, somewhere where the wolves hunted in the vast sea of verdant rain forest.

How pleasant they were, those jolly college days! As I think of them, many kindly faces and joyous voices rise before me! Where are they all? Some lying with the colours on their breast beside the Euxine Sea, and along the line of the Pacific; some struck down by the assassin’s knife in the temples at Cawnpore; some sleeping beneath the sighing of the Delhi palms, or of the sad Atlantic waves; some wasting classic eloquence on country hinds, in moss-grown village churches; some fighting the great fight, between science and death, in the crowded hospital-wards of London; some wearing honour, and honesty, and truth from their hearts, in the breathless, up-hill press of the great world; — all of them, living or dead, scattered far away over the earth, since those old days, in the shadow of the academic walls!

THE EARTH WITHOUT A SPIRITUAL DIMENSION except for the smallest white button of mushroom leading the rank-and-file up the rotting trunk of the oak, except for bulb, corm, pip, and spore and the passive mien of the autumn field when the off-kilter scatter and skyward rattle of grasshoppers have disappeared and except for the crowd of acacia thorns pointing toward all destinations possible in every direction out from the stem center of their circumferences and aside from the moss-and-mire covered bones of stripped roots and crippled branches left piled akimbo to molder among the beetles in the sinless murk of the forest floor, except for gorge, gulch, gully, and ravine, except for the moment waiting in the fist of the sycamore’s tufted fruit and in the sting of the loon’s longing before it cries and in the poise of the desert swallowtail before it lifts from the dry mountain wash and in the aim of the alligator’s undeviating glare before it swirls and sinks in the generative and ancient slough, except for the moment waiting in the green walls of palm spikes, pendants and rosettes, knots and currents of saw grasses and orchids, in the tight weave and bloat of prayers and weapons, in the moment before I move out into the empty plain of the open sky silent with sea-light, as if I were a wild and divine thing myself, to be going I know not where.

On the spur of the hill stood the ruins of an old brewery. The roof had long since disappeared and the rain had beaten the stone floors smooth and yellow. Some enterprising Englishman had spent a lifetime here making beer for his thirsty compatriots down in the plains. Now, moss and ferns grew from the walls.

The hills of waste are the topographic inverse of the open pit mines— the largest open pit mines in New York State, still unreclaimed— where the limestone rocks were quarried, the earth gouged out in one place to bury the ground in another. If time could run backward, like a film in reverse, we would see this mess reassemble itself into lush green hills and moss-covered ledges of limestone. The streams would run back up the hills to the springs and the salt would stay glittering in underground rooms.

The bees that tunnel in the rock and hard-packed mud of the walls here go back a long way. Holed-up underneath the thread-work of the vaulting ash, thin holly; beech and suckered elms - sinew peeling, shot through with poison galleries - I peer into the bee maze, stood down among the rib roots and moss. The bees still mass in the hola weg and drone down in the valley church, the gilded Queen of martyrs, beside the aged books and pitch mantraps. Records of steel barbs in the hollow, hooded traps cast out to snare a covert congregation - creeping round the black-wood crescent; lamping with dark lanterns. No moon above the whispering fields, low service in the cross-hatched apse and every outside sound an ambush. Amphidromic points of faith

Gradually he slid the length of her, and when he reached a wall he gazed into her sultry eyes. Even in the dim light he could see the moss encircled by dark blue. "Are you all right?" She wriggled beneath him. "Heavenly." "Once I start, I'll not be able to stop myself." "There's more?

It was good for me to be afflicted. (Psalm 119:71) It is a remarkable occurrence of nature that the most brilliant colors of plants are found on the highest mountains, in places that are the most exposed to the fiercest weather. The brightest lichens and mosses, as well as the most beautiful wildflowers, abound high upon the windswept, storm-ravaged peaks. One of the finest arrays of living color I have ever seen was just above the great Saint Bernard Hospice near the ten-thousand-foot summit of Mont Cenis in the French Alps. The entire face of one expansive rock was covered with a strikingly vivid yellow lichen, which shone in the sunshine like a golden wall protecting an enchanted castle. Amid the loneliness and barrenness of that high altitude and exposed to the fiercest winds of the sky, this lichen exhibited glorious color it has never displayed in the shelter of the valley. As I write these words, I have two specimens of the same type of lichen before me. One is from this Saint Bernard area, and the other is from the wall of a Scottish castle, which is surrounded by sycamore trees. The difference in their form and coloring is quite striking. The one grown amid the fierce storms of the mountain peak has a lovely yellow color of a primrose, a smooth texture, and a definite form and shape. But the one cultivated amid the warm air and the soft showers of the lowland valley has a dull, rusty color, a rough texture, and an indistinct and broken shape. Isn’t it the same with a Christian who is afflicted, storm-tossed, and without comfort? Until the storms and difficulties allowed by God’s providence beat upon a believer again and again, his character appears flawed and blurred. Yet the trials actually clear away the clouds and shadows, perfect the form of his character, and bestow brightness and blessing to his life. Amidst my list of blessings infinite Stands this the foremost, that my heart has bled; For all I bless You, most for the severe. Hugh Macmillan

The buzzing beneath my feet intensified as I neared the small pool of water. This had to be the gazing pool I'd heard about. Sheltered by tall, skinny evergreens and shrubs that held heavy clusters of small, delicate white flowers, it was shaded by the canopy of an old live oak tree that had moss growing at the base of its trunk. Curiosity drew me in. Faint ripples pulsed along the water's surface as the small pool burbled gently, peacefully, as if I relieved to be unburdened of its long-held secret about Bee. I studied the burbling, wondering what caused it, because it didn't appear that anyone had placed a running hose beneath its surface. There was no equipment at all. Just clear water. A knee-high mossy stone wall enclosed the pool, and ferns grew along its foundation, nestled snugly, their fronds rustling in the warm breeze. Suddenly I felt the urge to sit and stare into the water, and I absently smiled, thinking the gazing pool had been appropriately named.

Our elders say that ceremony is the way we can remember to remember. In the dance of the giveaway, remember that the earth is a gift that we must pass on, just as it came to us. When we forget, the dances we’ll need will be for mourning. For the passing of polar bears, the silence of cranes, for the death of rivers and the memory of snow. When I close my eyes and wait for my heartbeat to match the drum, I envision people recognizing, for perhaps the first time, the dazzling gifts of the world, seeing them with new eyes, just as they teeter on the cusp of undoing. Maybe just in time. Or maybe too late. Spread on the grass, green over brown, they will honor at last the giveaway from Mother Earth. Blankets of moss, robes of feathers, baskets of corn, and vials of healing herbs. Silver salmon, agate beaches, sand dunes. Thunderheads and snowdrifts, cords of wood and herds of elk. Tulips. Potatoes. Luna moths and snow geese. And berries. More than anything, I want to hear a great song of thanks rise on the wind. I think that song might save us. And then, as the drum begins, we will dance,

these rampages had in common: the mobs tended to go after the most prosperous in the lowest caste, those who might have managed to surpass even some people in the dominant caste. In the 1921 riot in Tulsa, Oklahoma, a mob leveled the section of town that was called black Wall Street, owing to the black banking, insurance, and other businesses clustered together and surrounded by well-kept brick homes that signaled prosperity. These were burned to the ground and never recovered. Decades before, in the early 1890s, a black grocery and a white grocery sat across the street from each other at an intersection just outside Memphis, Tennessee. The black store, known as People’s Grocery, was a cooperative that was thriving even as the walls of Jim Crow closed in. Its owner, Thomas H. Moss, was an upright figure in a three-piece suit and bow tie with a side part in his close-cropped hair, who did double duty delivering mail and running the

The word “moss” is commonly applied to plants which are not actually mosses. Reindeer “moss” is a lichen, Spanish “moss” is a flowering plant, sea “moss” is an alga, and club “moss” is a lycophyte. So what is a moss? A true moss or bryophyte is the most primitive of land plants. Mosses are often described by what they lack, in comparison to the more familiar higher plants. They lack flowers, fruits, and seeds and have no roots. They have no vascular system, no xylem and phloem to conduct water internally. They are the most simple of plants, and in their simplicity, elegant. With just a few rudimentary components of stem and leaf, evolution has produced some 22,000 species of moss worldwide. Each one is a variation on a theme, a unique creation designed for success in tiny niches in virtually every ecosystem.

Please listen to the hi-hat on the recorded version of Led Zeppelin’s “When the Levee Breaks.” Listen through once. Allow yourself to be trans- ported back to the time or place when you first fell deeply into that trance of sound, so wide and powerful it gave a new depth to your life, a depth you had not known to search for. Or maybe this is the first time you are hearing the song. In that case, I imagine you prefer different music altogether. Maybe you discount rock and roll as ego-driven, disconnected from that channeled light of Bach or Satie or Django or Monk. No matter. Allow the resistance to rise here as well, then wait for the moment the song breaks through, rings that same truth, that same transportive bell of beauty, that hyp notic atmosphere music offers. How beautiful to find lessons in our resistance. This may be a foundation of spiritual practice, to dive into the center of no and investigate. All those pronouncements and walls dis- solve like so much dust under the microscope of mind. The trance of song—loud, immense, gorgeous—does the same.

But I think you cannot own a thing and love it at the same time. Owning diminishes the innate sovereignty of a thing, enriching the possessor and reducing the possessed. If he truly loved mosses more than control, he would have left them alone and walked each day to see them. Barbara Kingsolver writes, “It’s going to take the most selfless kind of love to do right by what we cherish and give it the protection to flourish outside our possessive embrace”.

I follow him behind the throne and off the dais, where a small door is set against the stone wall, half hidden by ivy. I've never been here before. Cardan sweeps aside the ivy, and we go in. It is a small room, clearly intended for intimate meetings and assignations. Its walls are covered in moss, with small glowing mushrooms climbing them, casting a pale white light on us. There's a low couch upon which people could sit or recline, as the situation called for. We are alone in a way we have not been alone for a long time, and when he takes a step toward me, my heart skips a beat.

There was a trim, tidy quality to the vegetation here, one that the Lees were unused to, so different was it from the sprawling, encroaching mangroves, the tree roots that destabilized the foundations of their houses, the slimy moss that crept over everything left outside. Here, the dead leaves were swept up as soon as they dared fall; the grass was permitted to grow only to a certain height. Wildflowers and weeds were rare, springing only occasionally from the wet cracks in the rounded walls of wide storm drains.

evanescent

Electron microscopes let us wander the remote universe of our own cells.

The genus Dicranum has undergone considerable adaptive radiation, that is, the evolution of many new species from a common ancestor

Adaptive radiation, whether in Darwin’s finches or in Dicranum, creates new species that are well adapted for specific ecological niches.

The same specialization has taken place in Dicranum. By sidestepping competition, numerous species can coexist, each in a habitat that they don’t have to share with a sibling species, the mosses’ equivalent of “A Room of One’s Own.

Mosses are successful by any biological measure—they inhabit nearly every ecosystem on earth and number as many as 22,000 species. Like my niece finding small places to hide, mosses can live in a great diversity of small microcommunities where being large would be a disadvantage.

Even the surfaces of individual cells have their own descriptors—mammillose for a breast-like swelling, papillose for a little bump, and pluripapillose when there are enough bumps to look like chicken pox. While they may initially seem like arcane technical terms, these words have life to them. What better word for a thick, round shoot, swelling with water than julaceous?

Like the young of every species they escape the restrictions of their elders and seek out the freedom of the wide-open spaces.

They succeed by matching the unique properties of their form to the physical laws of interaction between air and earth.

Mosses are the amphibians of the plant world. They

Carbon dioxide is the raw material of photosynthesis, and is readily absorbed into the moist leaves of the mosses.

enough to live in the boundary layer is a distinct advantage. Mosses have found the microhabitats where their size becomes an asset.

Most spores can’t germinate in the leafy carpet of their own parents, so getting away is imperative

setae,

vortices

The shape of the water is changed by the moss and the moss is shaped by the water.

The cell membrane undergoes a change that allows it to shrink and collapse without sustaining irreparable damage. Most importantly, the enzymes of cell repair are synthesized and stored for future access.

The internal machinery of the cell can turn on and quickly repair the desiccation damage. Only twenty minutes after wetting, the moss can go from dehydration to full vigor.

Animated, released from stillness by the rain, Dendroalsia begins to move, branch by delicate branch unfolding to recreate the symmetry of overlapping fronds. As each stem uncurls, its tender center is exposed and all along the midline are tiny capsules, bursting with spores. Ready for rain, they release their daughters upon the updrafts of rising mist. The oaks once more are lush and green and the air smells rich with the breath of mosses.

But most mosses are immune to death by drying. For them, desiccation is simply a temporary interruption in life.

The atmosphere is possessive of its water. While the clouds are generous with their rain, the sky always calls it back again with the inexorable pull of evaporation.

Life attracts life.

I am trying to understand what it means to own a thing, especially a wild and living being. To have exclusive rights to its fate? To dispose of it at will? To deny others its use? Ownership seems a uniquely human behaviour, a social contract validating the desire for purposeless possession and control.

Here on the waste beds there are expanses without a living thing, but there are also teachers of healing and their names are Birch and Alder, Aster and Plantain, Cattail, Moss, and Switchgrass ... Nitrogen-fixing legumes in abundance, and clovers of all kinds, have also come to do their work ... Plants are the first restoration ecologists. They are using their gifts for healing the land, showing us the way.

He crouched there, surrounded by the cozy clutter of his familiar things: soft moss, nuts, leaves, pieces of fruit, shiny stones, some twigs he was gnawing on, and the page that Freddie had given him that said “…oga for kids” on it, leaning against the wall.

The behavior of these three blurs the distinction at the edge between life and death.

The ruins were no longer ruins. On the cliffs, at the highest point of the island, white towers rose to breathtaking points. As they thundered up the slope, the rest was revealed: a vast fortress, almost a citadel, its jumble of solid buildings and soaring parapets ringed by pale walls. It was clean and shining and new-made, entwined with climbing plants and trees and dark moss. In the darkness it glowed with a hundred hanging lights. She was seeing the island as it had been thousands of years ago, under an ancient moon. This was the lost civilization of Hy-Brasil.

It was only when Rowan brushed it with his fingertips and scattered some of the dust that she saw, to her surprise, a glint of something green. It was like a seam of moss, or a glimpse of forest through a gap in the castle stones. For some reason she couldn't fully understand, her own heart quickened to match Rowan's. "Wish me luck," Rowan whispered to the child, whose cries had subsided into whimpers. Rowan drew a deep breath, and pushed against the wall. Biddy felt the magic shiver under his skin and through his fingertips, and the schism in the wall glowed in response. Something was trickling through from the other side--- not quite light, not quite substance, like the glint of dust motes dancing in a sunbeam with no sunbeam and no dust. The air about them stirred, and Biddy's heart caught. She was seeing magic. In all her life, she had only had it described to her, and felt the movement of it in the air. Now, in Rowan's memory, it shimmered the gentle green gold of sunlight through leaves.

In the full sun, on clean mineral soil, the aspen seedlings will be the first to colonize the devastation.

Losing their names is a step in losing respect. Knowing their names is the first step in regaining our connection.

Mosses and lichens are both very sensitive to air pollution.

G. Evelyn Hutchinson, a pioneering ecologist, spoke eloquently of the living world as “the ecological theater and the evolutionary play.” This decaying log is a stage, and the scenes take place in the gaps, where the colonists act out their drama.

In those days, the ancient rainforests spread from Northern California to southeastern Alaska in a band between the mountains and the sea. Here is where the fog drips. Here is where the moisture-laden air from the pacific rises against the mountains to produce upward of one hundred inches of rain a year, watering an ecosystem rivaled nowhere else on earth. The biggest trees in the world. Trees that were born before Columbus sailed. And trees are just the beginning. The numbers of species of mammals, birds, amphibians, wildflowers, ferns, mosses, lichens, fungi, and insects are staggering. It's hard to write without running out of superlatives, for these were among the greatest forests on earth, forests peopled with centuries of past lives, enormous logs and snags that foster more life after their death than before. The canopy is a multi-layered sculpture of vertical complexity from the lowest moss on the forest floor to the wisps of lichen hanging high in the treetops, raggedy and uneven from the gaps produced by centuries of windthrow, disease, and storms. This seeming chaos belies the tight web of inter-connections between them all, stitched with filaments of fungi, silk of spiders, and silver threads of water. Alone is a word without meaning in this forest.

Written on the wall in front of me was a quote from Julia Woodrich, born in 1851 and enslaved in Louisiana: “My ma had fifteen children and none of them had the same pa. Every time she was sold she would get another man. My ma had one boy by her moss that was my missis brother’s child. You see every time she was sold she had to take another man. Her had fifteen children after she was sold de last time.

I’ve found mosses to be a vehicle for intimacy with the landscape, like a secret knowledge of the forest. This

Given these proclivities on the part of food companies—competitive, beholden to Wall Street, and in utter denial about their culpability—an intervention by Washington would certainly seem to be in order.

There is nothing softer on which to walk. Your footsteps are silent, as if treading on velvet; each step becomes slower and more cautious. To set foot on a moss path, even the short one at the top of my garden, slows your pace, every movement now more thoughtful. The luminosity of moss is extraordinary. It holds water, a dampness reminiscent of cloisters and cathedral walls. I imagine that is how the walls of a monastery might smell.

The last room left standing.” The stone chamber—enveloped by moss and vines—stood tall at the edge of the mist. How strange it looked, alone in the ruins, unmarked but for one dark window situated on its southernmost wall. The Nightmare’s tail whipped through my mind, the chamber fixed in our shared vision. Go in, he said. Go in where? My eyes caught on the ivy-laden room. There? Yes. Why? I want to see it. There is no door. Only— A window. His voice swarmed in my ears, near and far at once, slick with oil. That’s all she ever required. Who? The Spirit of the Wood. The hair at my spine prickled. You’ve been here before? He laughed. But there was no joy in it. It was an empty laugh, ominous—like falling down a well. Like being eaten by darkness. It stole something from me, leaving me terrified of the place—the doorless chamber—he so desperately wanted me to take him.

The whole of life, I thought, is doing harm, we live by killing, as of there were any being of which that is not the case.

Barbara Kingsolver writes, “It’s going to take the most selfless kind of love to do right by what we cherish and give it the protection to flourish outside our possessive embrace”.

They remind me to remember that there are mysteries for which a measuring tape has no meaning, questions and answers that have no place in the truth about rocks and mosses.

With a degree of humility rare in our species, we acknowledge there is much that we can’t see, and so contrive remarkable ways to observe the world. Infrared satellite imagery, optical telescopes, and the Hubbell space telescope bring vastness within our visual sphere. Electron microscopes let us wander the remote universe of our own cells. But at the middle scale, that of the unaided eye, our senses seem to be strangely dulled.

The “moss” is many different mosses, of widely divergent forms. There are fronds like miniature ferns, wefts like ostrich plumes, and shining tufts like the silky hair of a baby. A close encounter with a mossy log always makes me think of entering a fantasy fabric shop. Its windows overflow with rich textures and colors that invite you closer to inspect the bolts of cloth arrayed before you. You can run your fingertips over a silky drape of Plagiothecium and finger the glossy Brotherella brocade. There are dark wooly tufts of Dicranum, sheets of golden Brachythecium, and shining ribbons of Mnium. The yardage of nubbly brown Callicladium tweed is shot through with gilt threads of Campylium. To pass hurriedly by without looking is like walking by the Mona Lisa chatting on a cell phone, oblivious

The stone chamber—enveloped by moss and vines—stood tall at the edge of the mist. How strange it looked, alone in the ruins, unmarked but for one dark window situated on its southernmost wall.

In a country town I wouldn’t be able to find anymore, the sloping streets are old and the houses are decked with slate. Rain runs along the sculpted pilotis, and its droplets all fall in the selfsame place, with the selfsame sound. The round little windows have sunken into the walls, as if to keep from being struck. There is nothing brave in these streets, save for the ivy above the doors and the moss atop the walls: the ivy’s dark and shiny leaves bare their teeth, and the moss dares consume all the large stones that sit outside its yellow velvet – but the people here are as fleeting as the shadow of rising smoke.

This some get back for Kennedy marrying Alison?” I paused. “His name is fucking Alex, Menace.” Unfazed, he continued to stare at me for an answer. “This has to do with her?” “Nah.” “You don’t feel shit for Kennedy? Not too long ago you were ready to break rules and try to kill me to be head of this family.” I stepped back, leaning on the elevator wall and stared at my brother. We may have shared the same face, but this nigga’s way of thinking was on another level. “When in the fuck have I ever said I wanted to kill you, Maverick?” “Landon, keep the shit up.” “Cameras are off… hit them before we even stepped in the building,” I assured him, as we exited the elevator. “Answer the question.” “I don’t feel shit for her because she lied in my face. I can get down with a lot of shit, but she sat in my face and lied to me.” “When was she in your face, Landon?” I realized I said too much for his ass. “In passing conversations, Mens.” “She Moss’s cousin, right?” “Yeah.” “Don’t go fucking with that girl if you not ready for what comes with her,” he answered his vibrating phone, ‘cause he hated to hear his phone ring. “Wonder, I’m on my way to you now… uh huh… why? He needed a new car, the fuck?” “You bought the baby a car?” I shook my head, exiting out the elevator and toward our trucks.

Between the disappearance of the river and its re-emegence is like a desert river valley, clearly carved by water, with rounded stones in the bottom and steep sides, but no water running. Yet here there are elm trees, one of which is huge, with a magnificent trunk festooned with mosses, lichens, polypody ferns and fungi, a rich tapestry of rainforest life. Uniquely, it grows horizontally out of the rock, many metres up the sheer wall of the ravine, a completely implausible place for a tree to grow, hanging in complete defiance of the laws of physics. I stand beneath it, neck craned in awe, looking up into the lush green profusion of its living community. It is winter, so all this greenery isn't the tree's own leaves, but photosynthesising life using it as a climbing frame. Paradoxically, in this dry river valley, everything about its grand gathering of epiphytes declares it to be a rainforest tree. It is a perfect synbol of survival against the odds.

I am trying to understand what it means to own a thing, especially a wild and living being. To have exclusive rights to its fate? To dispose of it at will? To deny others it’s use? Ownership seems a uniquely human behavior, a social contract validating the desire for purposeless possession and control. To destroy a wild thing for pride seems a potent act of domination. Wildness cannot be collected and still remain wild. Its nature is lost the moment it is separated from its origins. By the very act of owning, the thing becomes an object, no longer itself.

My body is a torn mattress, Disheveled throbbing place For the comings and goings Of loveless transients. The whole of me Is an unfinished room Filled with dank breath Escaping in gasps to nowhere. Before completely objective mirrors I have shot myself with my eyes, But death refused my advances. I have walked on my walls each night Through strange landscapes in my head. I have brushed my teeth with orange peel, Iced with cold blood from the dripping faucets. My face is covered with maps of dead nations; My hair is littered with drying ragweed. Bitter raisins drip haphazardly from my nostrils While schools of glowing minnows swim from my mouth. The nipples of my breasts are sun-browned cockleburs; Long-forgotten Indian tribes fight battles on my chest Unaware of the sunken ships rotting in my stomach. My legs are charred remains of burned cypress trees; My feet are covered with moss from bayous, flowing across my floor. I can't go out anymore. I shall sit on my ceiling. Would you wear my eyes?

In traditional indigenous communities, learning takes a form very different from that in the American public education system. Children learn by watching, by listening, and by experience. They are expected to learn from all members of the community, human and non. To ask a direct question is often considered rude. Knowledge