Nature Backdrop Quotes

People do terrible things. People do beautiful things. It's against the black backdrop of evil that the shining light of good shows the brightest. We can't just focus on the darkness of the night, or we'll miss out on the stars.

The Meadow... Only one of them succeeded in making a life here... He weathered. Before a backdrop of natural beauty, he lived a life from which everything was taken but a place. He lived so close to the real world it almost let him in.

Doing nothing is the hardest torture that a person can put himself through. For he is always brought face to face with his own self, which demands that he gives account for the sun which he uselessly squanders, for the springs of energy in his organism, the gold of wisdom in the mines of his brains. The masses work, slog, forget. They drink the alcohol of their sweat. Work is a flight from responsibility and God. Since the mystic beliefs have been banned from Europe, pillars of glory have been erected to rationality in order to put something in place of the cross: the French Revolution named its goddess reason, the Russians named their Moloch work. But the machine called Europe is running idle: it fills stomachs with fake bread, builds artificial houses with iron paper, the products are bad, the pay meager, and at the end of the six holy work days is the unholy Sunday which one sleeps through out of fear of the great boredom which is infecting Europe. Sunday, the day of idleness, is nowadays a punishment for Christianity, the cities collapse into soulless ruins, nature is just a backdrop for dusty sports. Doing nothing out of principle, my dear, is nowadays the most violent form of revolt.

Soul has been demoted to a new-age spiritual fantasy or a missionary's booty, and nature has been treated , at best, as a postcard or a vacation backdrop or, more commonly, as a hardware store or refuse heap. Too many of us lack intimacy with the natural world and with our souls, and consequently we are doing untold damage to both.

We may acknowledge, intellectually, our body’s reliance upon those plants and animals that we consume as nourishment, yet the civilized mind still feels itself somehow separate, autonomous, independent of the body and of bodily nature in general. Only as we begin to notice and to experience, once again, our immersion in the invisible air do we start to recall what it is to be fully a part of this world… This breathing landscape is no longer just a passive backdrop against which human history unfolds, but a potentized field of intelligence in which our actions participate.

The mountain panorama was the backdrop to every photo taken here, the backdrop to everything. At first Ursula had thought it beautiful, now she was beginning to find its magnificence oppressive. The great icy crags and the rushing waterfalls, the endless pine trees--nature and myth fused to form the Germanic sublimated soul. German Romanticism, it seemed to Ursula, was write large and mystical, the English Lakes seemed tame by comparison. And the English soul, if it resided anywhere, was surely in some unheroic back garden--a patch of lawn, a bed of roses, a row of runner beans.

David had been photographing endangered species in the Hawaiian rainforest and elsewhere for years, and his collections of photographs and Suzie's tarot cards seemed somehow related. Because species disappear when their habitat does, he photographed them against the nowhere of a black backdrop (which sometimes meant propping up a black velvet cloth in the most unlikely places and discouraging climates), and so each creature, each plant, stood as though for a formal portrait alone against the darkness. The photographs looked like cards too, card from the deck of the world in which each creature describes a history, a way of being in the world, a set of possibilities, a deck from which cards are being thrown away, one after another. Plants and animals are a language, even in our reduced, domesticated English, where children grow like weeds or come out smelling like roses, the market is made up of bulls and bears, politics of hawks and doves. Like cards, flora and fauna could be read again and again, not only alone but in combination, in the endlessly shifting combinations of a nature that tells its own stories and colors ours, a nature we are losing without even knowing the extent of that loss.

Awe is quite a specific experience. It happens when we view beauty amid vastness, predominantly in nature, triggering a deep sense of belonging. Our smallness against a backdrop of immensity reminds us of our insignificance and interconnectedness, which brings about a profound, yet elated, peace.

I remember reading once how some Stone Age Indians from the Brazilian rain forest with no knowledge or expectation of a world beyond the jungle were taken to Sao Paulo or Rio, and when they saw what it contained-the buildings, the cars, the passing airplanes-and how thoroughly at variance it was with their own simple lives, they wet themselves, lavishly and in unison. I believe I had some idea how they felt. It is such a strange contrast. When you’re on the AT, the forest is your universe, infinite and entire. It is all you experience day after day. Eventually it is about all you can imagine. You are aware, of course, that somewhere over the horizon there are mighty cities, busy factories, crowded freeways, but here in this part of the country, where woods drape the landscape for as far as the eye can see, the forest rules. Even the little towns like Franklin and Hiawassee and even Gatlinburg are just way stations scattered helpfully through the great cosmos of woods. But come off the trail, properly off, and drive somewhere, as we did now, and you realize how magnificently deluded you have been. Here, the mountains and woods were just backdrop-familiar, known, nearby, but no more consequential or noticed than the clouds that scudded across their ridgelines. Here the real business was up close and on top of you: gas stations, Wal-Marts, Kmarts, Dunkin Donuts, Blockbuster Videos, a ceaseless unfolding pageant of commercial hideousness.

Morwen kept a good pace over the green lawn, but she paused in the side garden, where the sorrel tree's feathery leaves had turned a brilliant scarlet. A great white hydrangea made a backdrop for clumps of lobelia and lilyturf.

The institution of monarchy developed during the Middle Ages against the backdrop of the previously endemic struggles between feudal power agencies. The monarchy presented itself as a referee, aa power capable of putting an end to war, violence, and pillage and saying no to these struggles and private feuds. It made itself acceptable by allocating itself a juridical and negative function, albeit one whose limits it naturally began at once to overstep.

While other founding fathers were reared in tidy New England villages or cosseted on baronial Virginia estates, Hamilton grew up in a tropical hellhole of dissipated whites and fractious slaves, all framed by a backdrop of luxuriant natural beauty.

That in time good and evil should become accommodated to each other is perhaps only human nature. Take things far enough and evil becomes good. Against the backdrop of such a reality, human character was no doubt likely to come up short as the wheels of reason spun off their bearings.

Upon moving to Cornwall in 1991, I became bewitched by its enchanting timeless beauty, which captured my heart and holds me still. Brooding and mysterious, the south-eastern edge of Bodmin Moor provided the wild backdrop against which the introduction to my magical training and love of nature began.

Many intellectuals in the social sciences and humanities do not concede that Earth scientists have anything to say that could impinge on their understanding of the world, because the “world” consists only of humans engaging with humans, with nature no more than a passive backdrop to draw on as we please.

When I describe for my far-away friends the Northwest’s subtle shades of weather — from gloaming skies of ‘high-gray’ to ‘low-gray’ with violet streaks like the water’s delicate aura — they wonder if my brain and body have, indeed, become water-logged. Yet still, I find myself praising the solace and privacy of fine, silver drizzle, the comforting cloaks of salt, mold, moss, and fog, the secretive shelter of cedar and clouds. Whether it’s in the Florida Keys, along the rocky Maine coast, within the Gulf of Mexico’s warm curves, on the brave Outer Banks; or, for those who nestle near inland seas, such as the brine-steeped Great Salk Lake or the Midwest’s Great Lakes — water is alive and in relationship with those of us who are blessed with such a world-shaping, yet abiding, intimate ally. Every day I am moved by the double life of water — her power and her humility. But most of all, I am grateful for the partnership of this great body of inland sea. Living by water, I am never alone. Just as water has sculpted soil and canyon, it also molds my own living space, and every story I tell. …Living by water restores my sense of balance and natural rhythm — the ebb and flow of high tides and low tides, so like the rise and fall of everyday life. Wind, water, waves are not simply a backdrop to my life, they are steady companions. And that is the grace, the gift of inviting nature to live inside my home. Like a Chambered Nautilus I spin out my days, drifting and dreaming, nurtured by marine mists, like another bright shell on the beach, balancing on the back of a greater body.

The setting, concerns, and mood of The Woodlanders are consonant with the Wessex of the earlier novels. There is an element of nostalgia in Hardy’s treatment of the woodlands of Little Hintock. Although such rural economies were very much alive in Hardy’s day, he strikes an elegiac note in his evocation of a world that will inevitably pass away. However, the woodlands do not form the backdrop to an idyllic pastoral of humanity living in tranquil harmony with nature. The trees, which are such a dominant presence in the novel, compete with each other for nourishment and light, are vulnerable to disease and damage, and are frightening in their moaning under the lash of the storm. The woodlands represent the Darwinian struggle for existence that Hardy sees as extending not only to the inhabitants of this little world but also beyond ...

Going into the forest with my dad was a backdrop to my young life. It was just what people did. I was expected to be able to identify the species of trees and to know how to avoid getting lost. Nature wasn’t something that you drove to, or planned on seeing, or for which you bought a fancy outdoor wardrobe. I worry that now it is an activity that must compete with soccer practices, homework, piano lessons, and all the other responsibilities that fill up the calendar of a family with children.

A woman was bargaining with the gardener for a piece of vine, half as big as her finger, for her miniature Japanese garden. It was just what she wanted to climb up the stone in her dish. I looked with wonder on the Japanese appreciation of all small things in nature. Is it because their country, beautifully and theatrically mountainous, hardly ever allows a long vista, letting them always see things at close range? Or have her strange and lovely mists some part in teaching them to see, falling often like a backdrop behind a single pine, separating it from the rest of the world? Or have the Japanese, from generations spent in one-story paper houses, learned a language, an alphabet of beauty in nature, that we, in our houses of brick and stone, have shut out? Or is it, again, only because they are always artists and see more than we do? If only I could stay here long enough, I would learn to see too. And after minutely watching the surface of things I would learn to see below the surface. I would see the essence of a thing.

Even though, in Judaism and Christianity, humans are seen as central to the entire creation, their role is not a distinguished one. Since God is seen as perfect and self-sufficient, it is not at all clear why God needed to create humans, or what purpose they serve to Him. Our role on earth seems to be simply to undergo testing, to see if we are worthy of heaven or hell: to prove to God that we obey his commands and that we believe in him and worship him. If we fail in one short lifetime we will be punished for all of eternity. And the role of the earth, indeed of the whole vast cosmos, is simply to serve as the backdrop for this brief pathetic drama.

MY hero is Man the Discoverer. The world we now view from the literate West—the vistas of time, the land and the seas, the heavenly bodies and our own bodies, the plants and animals, history and human societies past and present—had to be opened for us by countless Columbuses. In the deep recesses of the past, they remain anonymous. As we come closer to the present they emerge into the light of history, a cast of characters as varied as human nature. Discoveries become episodes of biography, unpredictable as the new worlds the discoverers opened to us. The obstacles to discovery—the illusions of knowledge—are also part of our story. Only against the forgotten backdrop of the received common sense and myths of their

Some people will tell you that Toronto, in the summer, is the nothing more than a cesspool of pollution, garbage, and the smells of a hundred ethnicities competing for top spot in a race won historically by curry, garlic, and the occasional cauldron of boiled cabbage. Take a walk down College Street West, Gerrard Street East, or the Danforth, and you'll see; then, they add—these people, complaining—that the stench is so pervasive, so incorrigible, nor merely for lack of wind, but for the ninety-nine percent humidity, which, after a rainstorm, adds an eradicable bottom-note of sweaty Birkenstocks and the organic tang of decaying plant life. This much is true; there is, however, more to the story. Take a walk down the same streets and you'll find racks of the most stunning saris—red with navy brocade, silver, canary, vermillion and chocolate; marts with lahsun and adrak, pyaz and pudina; windows of gelato, zeppole, tiramisu; dusty smoke shops with patio-bistros; you'll find dove-white statuary of Olympian goddesses, mobs in blue jerseys, primed for the World Cup—and more, still, the compulsory banter of couples who even after forty years can turn foul words into the bawdiest, more unforgettable laughter (and those are just the details). Beyond them is the container, the big canvas brushed with parks and valleys and the interminable shore; a backdrop of ferries and islands, gulls and clouds—sparkles of a million wave-tips as the sun decides which colours to leave on its journey to new days. No, Toronto, in the summer, is the most paradisiacal place in the world.

After Olympia Press, in Paris, published the book, an American critic suggested that "Lolita" was the record of my love affair with the romantic novel. The substitution "English language" for "romantic novel" would make this elegant formula more correct. But here I feel my voice rising to a much too strident pitch. None of my American friends have read my Russian books and thus every appraisal on the strength of my English ones is bound to be out of focus. My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses -- the baffling mirror, the black velvet backdrop, the implied associations and traditions -- which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way.

Her disillusionment with the business had intensified as the need to simplify her stories increased. Her original treatments for Blondie of the Follies and The Prizefighter and the Lady had much more complexity and many more characters than ever made it to the screen, and adapting The Good Earth had served as a nagging reminder of the inherent restraints of film. Frances found herself inspired by memories of Jack London, sitting on the veranda with her father as they extolled the virtues of drinking their liquor “neat,” and remembered his telling her that he went traveling to experience adventure, but “then come back to an unrelated environment and write. I seek one of nature’s hideouts, like this isolated Valley, then I see more clearly the scenes that are the most vivid in my memory.” So she arrived in Napa with the idea of writing the novel she started in her hospital bed with the backdrop of “the chaos, confusion, excitement and daily tidal changes” of the studios, but as she sat on the veranda at Aetna Springs, she knew she was still too close to her mixed feelings about the film business.48 As she walked the trails and passed the schoolhouse that had served the community for sixty years, she talked to the people who had lived there in seclusion for several generations and found their stories “similar to case histories recorded by Freud or Jung.” She concentrated on the women she saw carrying the burden in this community and all others and gave them a depth of emotion and detail. Her series of short stories was published under the title Valley People and critics praised it as a “heartbreak book” that would “never do for screen material.” It won the public plaudits of Dorothy Parker, Rupert Hughes, Joseph Hergesheimer, and other popular writers and Frances proudly viewed Valley People as “an honest book with no punches pulled” and “a tribute to my suffering sex.

The Sandhill Cranes of Nebraska Too bad you weren’t here six months ago, was a lament I heard on my visit to Nebraska. You could have seen the astonishing spectacle of the sandhill cranes, thousands of them feeding and even dancing on the shores of the Platte River. There was no point in pointing out the impossibility of my being there then because I happened to be somewhere else, so I nodded and put on a look of mild disappointment if only to be part of the commiseration. It was the same look I remember wearing about six months ago in Georgia when I was told that I had just missed the spectacular annual outburst of azaleas, brilliant against the green backdrop of spring and the same in Vermont six months before that when I arrived shortly after the magnificent foliage had gloriously peaked, Mother Nature, as she is called, having touched the hills with her many-colored brush, a phenomenon that occurs, like the others, around the same time every year when I am apparently off in another state, stuck in a motel lobby with the local paper and a styrofoam cup of coffee, busily missing God knows what.

Not one but many Djunas descended the staircase of the barge, one layer formed by the parents, the childhood, another molded by her profession and her friends, still another born of history geology, climate, race, economics, and all the backgrounds and backdrops, the sky and nature of the earth, the pure sources of birth, the influence of a tree, a word dropped carelessly, an image seen, and all the corrupted sources: books, art, dogmas, tainted friendships, and all the places where a human being is wounded... People add up their physical mishaps, the stubbed toes, the cut finger, the burn scar, the fever, the cancer, the microbe, the infection, the wounds and broken bones. They never add up the accumulated bruises and scars of the inner lining, forming a complete universe of reactions, a reflected world through which no event could take place without being subjected to a personal private interpretation, through this kaleidoscope of memory, through the peculiar formation of the psyche's sensitive photographic plates, to this assemblage of emotional chemicals through which every word, every event, every experience is filtered, digested, deformed, before it is projected again upon people and relationships.

And what was the setting of this most profound moment? A garden full of olive trees. The olive tree is such a picture of perspective.1 I believe the Creator of all, who does everything with purpose, chose to be in the shade and shadow of the olive trees often. And possibly didn’t just choose to be among the olive trees in His darkest hour, but might He have actually created them for such a time as this? Yes, the olive tree was more than just a backdrop for Jesus. The Crushing Times Are Necessary Times First, in order to be fruitful, the olive tree has to have both the east wind and the west wind. The east wind is the dry, hot wind from the desert. This is a harsh wind. So harsh that it can blow over green grass and make it completely wither in one day. (The east wind is also the one that blew over Job’s house.) The west wind, on the other hand, comes from the Mediterranean. It brings rain and life. The olive tree needs both of these winds to produce fruit … and so do we. We need both the winds of hardship and the winds of relief to sweep across our lives if we are to be truly fruitful. The Crushing Times Are Processing Times Another thing to consider about the olive tree is how naturally bitter the olive is and what it must go through to be useful. If you were to pick an olive from the tree and try to eat it, its bitterness would make you sick. For the olive to be edible, it has to go through a lengthy process, which includes … washing, breaking, soaking, sometimes salting, and waiting. It is a lengthy process to be cured of bitterness and prepared for usefulness. If we are to escape the natural bitterness of the human heart, we have to go through a long process as well … the process of being cured.

I use the following scenario in my classes to illustrate the nature of the moral circle. Imagine, I ask my students, that your best friend just got a job waiting tables at a restaurant. To celebrate with her you arrange with friends to go to the restaurant to eat dinner on her first night. You ask to be seated in her section and look forward to surprising her and, later, leaving her a big tip. Soon your friend arrives at your table, sweating and stressed out. She is having a terrible night. Things are going badly and she is behind getting food and drinks out. So, I ask my students, what do you do? Easily and naturally the students respond, “We’d say, ‘Don’t worry about us. Take care of everyone else first.’” I point out to the students that this response is no great moral struggle. It’s a simple and easy response. Like breathing. It is just natural to extend grace to a suffering friend. Why? Because she is inside our moral circle. But imagine, I continue with the students, that you go out to eat tonight with some friends. And your server, whom you vaguely notice seems stressed out, performs poorly. You don’t get good service. What do you do in that situation? Well, since this stranger is not a part of our moral circle, we get frustrated and angry. The server is a tool and she is not performing properly. She is inconveniencing us. So, we complain to the manager and refuse to tip. In the end, we fail to treat another human being with mercy and dignity. Why? Because in a deep psychological sense, this server wasn’t really “human” to us. She was a part of the “backdrop” of our lives, part of the teeming anonymous masses toward which I feel indifference, fear, or frustration. The server is on the “outside” of my moral circle.

We tend to be unaware that stars rise and set at all. This is not entirely due to our living in cities ablaze with electric lights which reflect back at us from our fumes, smoke, and artificial haze. When I discussed the stars with a well-known naturalist, I was surprised to learn that even a man such as he, who has spent his entire lifetime observing wildlife and nature, was totally unaware of the movements of the stars. And he is no prisoner of smog-bound cities. He had no inkling, for instance, that the Little Bear could serve as a reliable night clock as it revolves in tight circles around the Pole Star (and acts as a celestial hour-hand at half speed - that is, it takes 24 hours rather than 12 for a single revolution). I wondered what could be wrong. Our modern civilization does not ignore the stars only because most of us can no longer see them. There are definitely deeper reasons. For even if we leave the sulphurous vapours of our Gomorrahs to venture into a natural landscape, the stars do not enter into any of our back-to-nature schemes. They simply have no place in our outlook any more. We look at them, our heads flung back in awe and wonder that they can exist in such profusion. But that is as far as it goes, except for the poets. This is simply a 'gee whiz' reaction. The rise in interest in astrology today does not result in much actual star-gazing. And as for the space programme's impact on our view of the sky, many people will attentively follow the motions of a visible satellite against a backdrop of stars whose positions are absolutely meaningless to them. The ancient mythological figures sketched in the sky were taught us as children to be quaint 'shepherds' fantasies' unworthy of the attention of adult minds. We are interested in the satellite because we made it, but the stars are alien and untouched by human hands - therefore vapid. To such a level has our technological mania, like a bacterial solution in which we have been stewed from birth, reduced us. It is only the integral part of the landscape which can relate to the stars. Man has ceased to be that. He inhabits a world which is more and more his own fantasy. Farmers relate to the skies, as well as sailors, camel caravans, and aerial navigators. For theirs are all integral functions involving the fundamental principle - now all but forgotten - of orientation. But in an almost totally secular and artificial world, orientation is thought to be un- necessary. And the numbers of people in insane asylums or living at home doped on tranquilizers testifies to our aimless, drifting metaphysic. And to our having forgotten orientation either to seasons (except to turn on the air- conditioning if we sweat or the heating system if we shiver) or to direction (our one token acceptance of cosmic direction being the wearing of sun-glasses because the sun is 'over there'). We have debased what was once the integral nature of life channelled by cosmic orientations - a wholeness - to the ennervated tepidity of skin sensations and retinal discomfort. Our interior body clocks, known as circadian rhythms, continue to operate inside us, but find no contact with the outside world. They therefore become ingrown and frustrated cycles which never interlock with our environment. We are causing ourselves to become meaningless body machines programmed to what looks, in its isolation, to be an arbitrary set of cycles. But by tearing ourselves from our context, like the still-beating heart ripped out of the body of an Aztec victim, we inevitably do violence to our psyches. I would call the new disease, with its side effect of 'alienation of the young', dementia temporalis.

Grieve not for lost love, whether it is through death or the fickle fluctuations of human nature. Love itself is never lost, but just plays hide-and-seek with you in many hearts; that in pursuing it you might find its ever greater manifestations. It will keep hiding from you, and disappointing you, until you have quested long enough to find its abode in the One who resides in the deepest recesses of your own soul, and in the heart of everything. Then you will say: “O Lord, when I resided in the house of mortal consciousness, I thought I loved my parents and my friends; I fancied I loved birds, beasts, possessions. But now that I have moved into the mansion of Omnipresence, I know it is Thee alone I love, manifested as parents, friends, all creatures and all things. By loving Thee alone, my heart expanded to love the many. By being loyal in my love to Thee, I am loyal to all I love. And I love all beings forever.” I see life on earth as only a scenic backdrop behind which my loved ones hide at death. As I love them when they are before my eyes, so does my love follow them with my ever-watching mental gaze when they move elsewhere, behind death’s screen. Those whom I have loved I could never hate, even though they grow uninteresting through ugly behavior. In my museum of recollections, I can still behold those traits that caused me to love them. Beneath the temporary mental masks of those whose behavior I dislike, I see the perfect love of my great Beloved, even as I see it in those worthy souls that I love. To stop loving is to stem the purifying flow of love. I shall loyally love every being, every thing, until I find all races, all creatures, all animate and inanimate objects embraced by my love. I will love until every soul, every star, every forsaken creature, every atom, is lodged in my heart; for in the infinite love of God, my breast of eternity is large enough to hold everything in me. O Love, I see Thy glowing face in the gems. I behold Thy shy blush in the blossoms. I am enraptured, hearing Thee warble in the birds. And I dream in ecstasy when my heart embraces Thee in all hearts. O Love, I met Thee in all things—only a little and for a while—but in Omnipresence I clasp Thee entirely and forever, and I rejoice in Thy joy evermore.

We often talk about the “environmental movement,” or about a modern concern for the “environment.” It is worth noting that these terms are misleading, since they imply an opposition between humanity (or whichever species is under discussion) and its surroundings, reducing the rest of nature to a kind of backdrop—and at worst to a complex set of raw materials and mechanical forces.

We see the Tsaatan encampment of tepees in the far distance, sitting in a vast treeless plain surrounded by rolling hills and backdropped by high snow-capped mountains. We pause for a while to take in this spectacle. It took my breath away, and for a moment, everything was gone except the here and now.

Molecular biologist Harvey Bialy, the editor of the Nature Biotechnology journal, observed that the subtle backdrop of racial and sexual bigotry and bullying are the distinguishing attributes of AIDS research:

Weekend Wildlife by Stewart Stafford Praying mantis tapped out code, On waste ground down the road, Legs, wings and antennae spread, A walrus mugged a pensioner in bed. A chameleon joined in the mêlée, Effortlessly cool, a saurian Pelé, Mimicking every backdrop around, Eyeballs akimbo, tongue on ground. Then a herd of Ibex from Iberia, A yak stampede from frigid Siberia, Bomber squadrons of high Cockatoos, As the rest liberated the nearest zoos. © Stewart Stafford, 2023. All rights reserved.

No one taught me how to analyse a book, how to read from a safe distance, how not to lose sight of context, how to grasp the things left unsaid. No one taught me about schools of thought or even the ideologies meant to give depth to a mundane story. No one taught me aesthetics, language... All these, I discovered in high school while studying the classics, and broadened this knowledge at the Higher Teachers' Training College in Yaounde, from which I graduated as a French teacher. But I had already developed a habit. All my life, I would read the same way l had started off—intensely, passionately, instinctively—and sentence fragments would stick with me […] Books soothed my soul, made me angry, made me strong. They made me laugh and cry. They pushed me to examine existence with my own mind, to trust my intuition, to stretch my mind to perceive—against the backdrop of characters, nature, and plot—the intricate symphony of time that beams our being to the world. As a child, reading made me feel less lonely, less insignificant, less vulnerable. As an adult, I developed enough discernment to understand that, while reading had not made me a better person, it had made me more levelheaded towards my own motivations, and freer.

The mono-mind perspective, in combination with scientific and religious theories about how primitive human impulses are, created this backdrop of inner polarizations. One telling example comes from the influential Christian theologian John Calvin: “For our nature is not only utterly devoid of goodness, but so prolific in all kinds of evil, that it can never be idle … The whole man, from the crown of the head to the sole of the foot, is so deluged, as it were, that no part remains exempt from sin, and, therefore, everything which proceeds from him is imputed as sin.”2 This is known as the doctrine of total depravity, which insists that only through the grace of God can we escape our fate of eternal damnation. Mainstream Protestantism and Evangelicalism have carried some version of this doctrine for several hundred years, and the cultural impact has been widespread. With “Original Sin,” Catholicism has its own version.

The sixth model, that of Professor McConnell, pays close attention to the use of the word “retained” in the Ninth Amendment. McConnell argues the Ninth was adopted with the backdrop of the state of nature theory of philosopher John Locke. Under Locke’s view—recognized as influential at the time of the American Revolution and the Constitution’s framing—people have “natural rights” in the state of nature, the theoretical mode of living before people ever came together to form a government and establish civil society.51 People discover that it benefits them to give up some of their rights in exchange for creating a government that will then allow them to live in greater security and achieve greater prosperity. Thus they form a society where they give up rights, such as the right to punish others for wronging them, and turn those rights over to their collective body, the government. But they by no means give up all natural rights. Those rights that they do not relinquish they “retain.

David Ben-Gurion well understood these contradictory perspectives. As he told his colleagues, against the backdrop of the Arab Revolt of 1936-1939: "We must see the situation for what it is. On the security front, we are those attacked and who are on the defensive. But in the political field we are the attackers and the Arabs are those defending themselves. They are living in the country and own the land, the village. We live in the Diaspora and want only to immigrate [to Palestine] and gain possession of [lirkosh] the land from them." Years later, after the establishment of Israel, he expatiated on the Arab perspective in a conversation with the Zionist leader Nahum Goldmann: "I don't understand your optimism.... Why should the Arabs make peace? If I was an Arab leader I would never make terms with Israel. That is natural: We have taken their country. Sure, God promised it to us, but what does that matter to them? Our God is not theirs. We come from Israel, it's true, but two thousand years ago, and what is that to them? There has been anti-Semitism, the Nazis, Hitler, Auschwitz, but was that their fault? They only see one thing: We have come here and stolen their country. Why should they accept that?

I took a black and white photograph, which I also posted on Instagram. Her New Balance shoes and her feet crossed, hanging as she sat atop the pile of aluminum chairs, against the backdrop of the many legs of the chairs shining in the street lights in contrast to her dark shoes and leggings, were so captivating. There was a lightness in the way she sat there with her crossed legs dangling, as if she was perched on a cloud and it was the most natural thing as she was my angel. I was still unsure if she really existed or if I had only made her up with Pinto cat one night. It was all like a lucid dream. I was so glad for us and for us becoming rich soon too. I was so glad I could provide her with a future in Europe. I was so glad we would be rich and happy and we would be able to make all our dreams come true and travel the world freely together. I can show her Italy and Hungary and Europe. We can pick where do we want to live or make family. I knew all my life, all my work had led to this girl, this moment, and this future. Ours. She started to rap in Spanish in the Rioplatense dialect as I started to record her. „Loco, loco…” - she was so cute, it sounded like she had learned it on the streets of Buenos Aires, skipping school. She was amazing - so young, so true, so natural and pure and cute. I couldn't get enough of her. I wanted to make kids with her. With only her. Nobody else. By the wall of the church and the bar tables, there were a bunch of metal mobile railings with the Ajuntamiento de Barcelona logo in the middle of each of them. I told Martina to squat down to the level of the Ajuntamiento sign, and before I could finish my sentence, she was already doing it. She posed with the mobile railings, making a funny, cool and happy face while squeezing the Ajuntamiento logo between two of her fingers and pointing at it with her other hand, as if we were mocking the authorities of the Ajuntamiento. She was reading my mind. Like she knew magic. She was such a good girl. She was so pretty, smart and sexy. She was smiling, biting her lower lip, excited, turned on, and in love, I thought, looking like a bunny, or like Whitney Houston on the Brazilian live concert video, so I began to call her “Bunny”. I showed her how Whitney was smiling the same way. I was so blind to see the connection. (“The Cocaine Queen”) I was so much in love with her, so under her spell, I just really wanted her to be the One, I guess. I explained to her that the Camorra was one of my costumers and they had a club close by too and they were taking away other people's coffeeshops, menacing their lives and their families'. I explained to her that we were going to do all demolition and remodeling without any permit, without telling a word to anyone. I told her that we would lie to the residents of the building above us about what we were going to do there for months and months. I told her that she must keep it as our secret. She was nodding happily and she seemed happy that I trusted her. I explained everything to her, I told her about Rachel and Tom and I signing the founding document at Amina's office at the beginning of the same year, 2013. She seemed to understand the weight of all I told her and the reasons why I told her about it all, so she would know, so she wouldn't make a mistake saying the wrong thing in the wrong place at the wrong time. I asked her to pay attention to her surroundings in Barcelona from then on, as there were a lot of criminals, and she was a very pretty girl - not only my girlfriend. She seemed to take it as a privilege to be my girlfriend, and she seemed eternally happy, as was I. I told her that she was the only person I fully trusted. I wanted to send the video of Martina rapping on WhatsApp to Adam, but Martina told me I shouldn't because it was late and, at the end, Adam was my boss. “Yeah but he is not really my boss, in Spain, I am the boss.

Hardie Boys- Exterior Millwork That Provides Value Over Time The outdoor areas on your property and the features on it, become the perfect backdrop for your home’s structure. They are also one of the first things that visitors to your property notice. The manner in which these features are designed and the finishing that’s used in them, go a long way in enhancing the overall appeal and value of your property. And so it follows that you ensure resilient materials are used in the work and hire expert technicians for the installation. When you start researching products and materials for outdoor installations, you will find that wood; iron, aluminum, plaster, brick and foam are commonly used in exterior construction. And this may lead you to believe that they are the best option for these applications. It’s also natural for you to be unsure about using new materials such as the specialized cellular PVC materials we use in our millwork. Some comparisons But the fact is that there has been a significant advancement in the manufacture of exterior-grade, manmade materials and cellular PVC is one of them. However, the higher upfront cost can sometimes become the other deterrent for property owners, to opt for this innovative material. Take a look at how the cellular PVC material that we at Hardie Boys, Inc. use stands up against other traditionally-used materials: 1. Weather impact Materials such as hardwood and metal are strong and durable, but need a significant amount of treatments before they can be used in exterior applications. For instance, untreated and unfinished wood features get affected by moisture and the sun’s rays and eventually crack and crumble. They can also develop rot or moss; and if these conditions are very severe, extensive repairs or complete replacement of the feature is the only option you are left with. Metal too gets affected by moisture and exposure to rain and frost; and rusts and corrodes over time. In comparison the unique PVC cellular material that we use in our millwork is moisture and heat-resistant and doesn’t corrode over time. 2. Termite damage Termites are extremely destructive creatures and they can bore through wooden features and cause extensive damage to them. In most cases, replacement is the only option you are left with, which represents a significant expense. Concrete surfaces get affected by the freeze and thaw cycles and crack over a period of time, and you end up spending considerable amounts on repair and replacements. On the other hand, cellular PVC doesn’t get impacted by termites or weather fluctuations at all. 3. Maintenance While choosing materials for exterior applications, most property owners fail to factor the maintenance costs into the overall cost of the installation. For instance, wood, plaster, foam, brick and concrete require annual mold prevention maintenance as well as sanding and polishing or painting. Metal surfaces have to be sanded, and painted regularly too. In comparison, our cellular PVC material features require only basic cleaning and they won’t warp, crack, fade, corrode, develop rot or mold. In short, this is an extremely low-maintenance option that is worth every penny you spend on initial costs. We at Hardie Boys, Inc. are the leaders in this space and provide excellent, customized, cellular PVC millwork solutions for residential and commercial settings. For any more information about our exterior millwork,

Every shoreline I walk with sounds of nature as the backdrop to such a majestic canvas of beauty, I find myself these days forever seeking forgiveness as I am shamed knowing to be man.

These islands form a backdrop for a culture that transcends time. Life follows its own rhythm on these gems of the sea that spread east from the Greek mainland. For eons, the artisans of the region have crafted beautiful objects of marble, bronze, and wood. For centuries, mules have transported people and goods from bustling port towns to the traditional villages that dot the hillsides. Ancient windmills--perched above glistening harbors like stalwart sentries--have harnessed the power of the air to process grain for as long as anyone can remember. Every day for thousands of years, fishermen have launched their boats in search of those fruits of the sea so lavishly displayed in seaside markets. Islanders have flocked to natural hot springs to bask in their healing waters since before the time of Aristotle. And since long before that, shrines to the gods have lured pilgrims and worshipers from near and far.

The air was pure and still, and early sunshine sparkled on the heavy dew. In the valley sat cotton candy mist, and the distant hills stood softly, their edges blurred and colors muted by the moist air. Swallows and house martins swooped and dipped, hungry for their breakfasts, catching the first rise of insects of the day. The honeysuckle and roses had not yet warmed to release their scent, so the strongest smell was of wet grass and bracken. Laura smiled, breathing deeply, and walked lightly through the gate into the meadows. She hadn't the courage to head off onto the mountain on her own just yet but could not wait to explore the woods at the end of the fields. By the time she reached the first towering oaks, her feet were washed clean by the dew. She felt wonderfully refreshed and awake. As she wandered among the trees she had the sense of a place where time had stood still. Where man had left only a light footprint. Here were trees older than memory. Trees that had sheltered farmers and walkers for generations. Trees that had been meeting points for lovers and horse dealers. Trees that had provided fuel and food for families and for creatures of the forest with equal grace. As she walked deeper into the woods she noticed the quality of sound around her change. Gone were the open vistas and echoes of the meadows and their mountain backdrop. Here even the tiniest noises were close up, bouncing back off the trunks and branches, kept in by the dense foliage. The colors altered subtly, too. With the trees in full leaf the sunlight was filtered through bright green, giving a curious tinge to the woodland below. White wood anemones were not white at all, but the palest shade of Naples yellow. The silver lichens which grew in abundance bore a hint of olive. Even the miniature violets reflected a suggestion of viridian.

MY hero is Man the Discoverer. The world we now view from the literate West—the vistas of time, the land and the seas, the heavenly bodies and our own bodies, the plants and animals, history and human societies past and present—had to be opened for us by countless Columbuses. In the deep recesses of the past, they remain anonymous. As we come closer to the present they emerge into the light of history, a cast of characters as varied as human nature. Discoveries become episodes of biography, unpredictable as the new worlds the discoverers opened to us. The obstacles to discovery—the illusions of knowledge—are also part of our story. Only against the forgotten backdrop of the received common sense and myths of their time can we begin to sense the courage, the rashness, the

Third places remain upbeat because of the limited way in which the participants are related. Most of the regulars in a third place have a unique and special status with regard to one another. It is special in that such people have neither the blandness of strangers nor that other kind of blandness, which takes zest out of relationships between even the most favorably matched people when too much time is spent together, when too much is known, too many problems are shared, and too much is taken for granted. Many among the regulars of a third place are like Emerson's "commended stranger" who represents humanity anew, who offers a new mirror in which to view ourselves, and who thus breathes life into our conversation. In the presence of the commended stranger, wrote Emerson, "We talk better than we are wont. We have the nimblest fancy, a richer memory, our dumb devil has taken leave for a time. For long hours, we can continue a series of sincere, graceful, rich communications, drawn from the oldest, secretest experience, so that those who sit by, of our kinsfolk, and acquaintance, shall feel a lively surprise at our unusual power.: The magic of commended strangers fades as one comes to know them better. They are fallible. They have problems and weaknesses like everyone else and, as their luster fades, so does their ability to inspire our wit, memory, and imagination. The third place, however, retards that fading process, and it does so by keeping the lives of most of its regulars disentangled. One individual may enjoy the company of others at a mutual haunt for years without ever having seen their spouses; never having visited their homes or the places where they work; never having seen them against the duller backdrop of their existence on the "outside." Many a third place regular represents conversationally and socially what the mistress represents sexually. Much of the lure and continuing allure of the mistress rests in the fact that only pleasure is involved. There is no rising from bed to face the myriad problems that husband and wife must share and that contaminates their lives and their regard for one another. Third places surely contain many of these "mistresses of conversation," people who meet one another only to share good times and scintillating activities and with whom good times and scintillation thus come to be associated. Out of tacit agreement not to share too much, the excitement attaching the commended stranger is preserved among third place regulars. What, after all, are such incidentals as home and family and job when the nature of life itself, the course of the world in modern times, or the booted ball that cost a victory in last night's game are on the agenda?

Two years before our arrival at Maplehurst, we had left the Midwest eager for new jobs, milder weather, and a house of our own with a real backyard. We were unprepared for the enormity of our losses. Good friends. Close-knit community. A meaningful connection with the work of our minds and our hands. There was one lost thing, in particular. It was such a natural part of our prewilderness lives that I only ever recognized it after it was gone. In our northern city, we had lived a seasonal rhythm of summer festivals and winter sledding, spring baseball games and autumn apple picking. Our moments and our months were distinguished by the color of the trees, deep red or spring green, and the color of the lake, sparkling and playful in summer, menacing and dull in winter. These things were the beautiful, sometimes harsh, but always rhythmic backdrop in our days. Time was like music. It had a melody. In the wilderness, the only thing that differentiated one season from the next was my terrible winter asthma. Without time's music, I became aimless and disconnected, like a child's lost balloon.

As a boy, I sometimes sat down from my wandering only to wake up an hour later, surprised to find I had fallen asleep in a warm patch of grass. That wouldn’t happen in bear country. When I walk in a place like Yellowstone, it’s always with a slight but solemn recognition of the slender possibility that I will die, that some wild animal will kill me. My senses come alive: I taste the air, listen for sounds beneath the wind. Suddenly, nature is not the backdrop to life, it is life itself, and I am no longer myself, but myself in nature. I note and classify even small changes: a shrew darting across the path, an updraft twisting a fern frond, a hummingbird gathering spiderweb for its nest. Light and form take on greater clarity, and given enough time to sink into these sensations , visual tricks will arise that are somewhere between vigilance and hallucination, such as seeing clearly every trembling leaf on a tree while in the same moment watching a bumblebee pass by in slow motion. As my senses reach outward, I spread away from myself. The world expands. It’s the closest a person can feel, I think, to being a flock of birds. The naturalist John Livingston described this perspective as a participatory state of mind, and speculated that among wild animals it is the ordinary form of consciousness. It would seem to have to be.

Chance – invisible, furtive, and silent – is the vast canvas upon which all the rest of war is painted. Skill, courage, ruse, character, the elements of nature, technology and all the other components of war all operate against the backdrop of chance. Again and again, chance has raised up and brought down empires, snatched laurels from one hand to throw to another, and destroyed the most finely wrought plans.

Waterfall by Maisie Aletha Smikle Soothing water gushing from the rocks Hastens to meet the rivers and streams That meet in the ocean deep Never to reach a mountain peak Soft mist rises from the lunging gush As crystal water plunges down in a rush Carried by the gentle breeze Like a balm it calms the soul with ease It dims the heat and cools the air Trickles on the grassy meadow And on the sand beneath Cooling pebbles for your feet As you walk the sandy shore Inhaling cool mist as you tour And watch the little birds soar Chirping and singing like never before Beautiful waterfall So splendid and so tall Climb to the top And view the backdrop Mountains elegantly towering Over hills and plains beneath Casting shadows On lush green meadows Crystal clear water drops Naturally pure to the very last drop Nature is kind nature is fine Nature is undoubtedly divine

You had to be able to use nature, in some way, even if only as the backdrop for a car commercial. Nothing is allowed to have an undefined purpose; everything must be quantifiable, regardless of whether the metrics match the reality or not. The power to define reality and to discuss the value of nature belongs to economics. Politicians talked down the region, saying it was nothing special. The farmers who ‘owned’ the land went to the papers and sounded off about how the area really wasn’t particularly remarkable, how it was primarily city folk who were losing their minds over the situation: ‘To be honest, I’d be happy not to have to go all the way up there into the ravines to round up the sheep each year.’ I was part of the crowd arguing

Patanjali tells us that the failure to recognize our intrinsic goodness is caused by a momentary inability to perceive the silent and omnipresent life living itself through us. And why do we not perceive this silent and fundamentally benign backdrop? For the most part our primary modus operandi consists of identifying with and participating in the transitory movement of thoughts, feelings, memories, fantasies, and sensations and our ideas and judgments about ourselves and others. This veritable extravaganza of sensations is so compelling and so interesting, and so seemingly real, that we start to believe that this is who we really are. The dramatic enactment of these passing phenomena eclipses our view into our core self. We may believe that we are our anger, our pain, or our disappointment. We may be convinced that we are only our body, our wrinkles, or our successes or failures. When we get beneath all these exterior embellishments, we discover, as my elderly friend Denis tells me, looking down at his weathered hands, that we are “just the same person” in a different body. Through practice we emphatically prove that the parading sensations and identities that we may have found so convincing are actually temporary visitors, and when we become quiet and focused enough we understand that in hosting these visitors, our house, the Self, remains unchanged. Or as Patanjali describes in the very first sutras that define Yoga: Yoga is the settling of the mind into silence. When the mind has settled, we are established in our essential nature, which is unbounded Consciousness.

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

During those contemplative moments on Walden Pond, Henry David Thoreau seemed aware of such complex interactions—that, (as had been relayed by Kuan Yin), “It takes a tremendous amount of courage to deeply relate to nature...You’re too distracted by other issues. Put them aside and really look at the flower with me.” “I’m looking at the flower and watching how Kuan Yin relates to it, I’m seeing how the act of relating to a flower appears to be so simple. Yet, it takes a tremendous amount of courage to make such a simple act important. I understand now how busyness can be a real distraction, how it can create ‘made up’ realities. Being present means an absence of past and future. I’m seeing how bringing the mind into the present is the link to eternity and that true meditation is the acceptance of no past or future. I realize these are amazingly brave concepts, that there are only moments upon moments to be lived. It’s almost inconceivable. Usually Kuan Yin takes me on a journey somewhere. Or there is an elaborate backdrop. Today, however, we’re in ‘no place’. Against only a backdrop of air, Kuan Yin sits; intent upon really being with a flower. It’s so interesting. There is a tremendous difference between the consciousness of really being with something and, for instance, living a life. It’s as if the life is the dream!” Indeed, the following quotations from “Walden” illustrate Thoreau’s deep abidance of nature—that through such a sacred connection, we access the deep vitality of our being, elevating ourselves as well as our surroundings: “It's the beauty within us that makes it possible for us to recognize the beauty around us. The question is not what you look at but what you see.” ~ Henry David Thoreau - Walden Equally, Thoreau appears to espouse the higher elevations of human consciousness—that there exists an inseparable bond, regardless of ego’s prejudices, between the ego and Higher Self.

The first rays of the sun charmed curls of mist from the grass of Sheep Meadow, fairy clouds that sparkled silver against the green backdrop of the pasture. Harriet slowed her steps to take in the sight, savoring the slant of spring light and the emerald glow of new leaves before she crossed the meadow into the chilly shadows of the woods.

Human beings create their own images of desire and then set out in pursuit of them. These are simulacra: ideals, visions, idols. Pilgrims and travelers have a great deal in common, and unspoiled nature serves merely as a backdrop for the experiences we thirst after. The denunciation of tourism is as old as organized mass travel itself... Since then the tourism industry has been a driving force in consumer society and at the same time a symbol of its self-destructive powers.

the brooding mountains looked over Cody Wyoming two unmovable statues against the tremendous sky sagebrush fields and wild foxes claimed the open land in between wilderness and humanity I lived in a place of mythic grandeur the craft of God or a very lucky set of circumstance that had painted the state’s corner with such moving elegance and breathtaking visions towards the east of the protective peaks and down the fragrant river the main street bustled with familiar faces and travelers noise and experience the being of humans against the backdrop of god’s wildest country

Like other primates, humans can be described either as highly cooperative animals that need to work hard to keep selfish and aggressive urges under control or as highly competitive animals that nevertheless have the ability to get along and engage in give-and-take. This is what makes socially positive tendencies so interesting: They play out against a backdrop of competition. I rate humans among the most aggressive of primates but also believe that we’re masters at connecting and that social ties constrain competition. In other words, we are by no means obligatorily aggressive. It’s all a matter of balance: Pure, unconditional trust and cooperation are naïve and detrimental, whereas unconstrained greed can only lead to the sort of dog-eat-dog world that Skilling advocated at Enron until it collapsed under its own mean-spirited weight.

What Rusty finally sees—that he can find pleasure without drugs—is vital to resisting the urge. When you talk to hard-core addicts, you often hear that they feel numb to most things. Naturally satisfying forms of stimulation such as love, food, and social interaction are a bland backdrop to the vivid experience of the drug. The normal course of life doesn’t do it—they can’t feel it.

The Highway That Redefines Travel: A Journey Through India’s Best Road Infrastructure There’s something magical about hitting the open road, feeling the hum of the tires beneath you, and watching the scenery change as you move forward. As a frequent traveler, I’ve explored numerous highways across India, but nothing prepared me for the India’s best highway infrastructure that I experienced recently. From the moment I entered this highway, it became clear that this was not just another road but a testament to modern engineering and thoughtful planning. Every mile on this highway offered an experience of seamless travel, breathtaking landscapes, and a sense of security that’s rare on Indian roads. If road trips are your passion, this is one journey you don’t want to miss. #modernroad A Masterpiece of Engineering and Planning Unlike many highways in India that are plagued by uneven surfaces, frequent potholes, and congested lanes, this one is an absolute delight to drive on. The multi-lane highway is flawlessly maintained, with clear road markings and strategically placed signboards that ensure smooth navigation. The asphalt feels almost like a runway, allowing vehicles to glide effortlessly without any unexpected bumps. Another major highlight is the intelligent lane distribution. With separate lanes for heavy vehicles, passenger cars, and even emergency services, the highway eliminates the chaotic congestion that is common on most Indian roads. This results in a more disciplined and efficient traffic flow, making long-distance drives a pleasure rather than a stressful endeavor. #modernroadmakers Rest Stops That Feel Like Destinations One of the biggest challenges of highway travel in India is the lack of clean and accessible rest stops. But this highway has truly set a benchmark in this regard. Every few kilometers, you’ll find well-maintained rest areas equipped with food courts, fuel stations, and spotless washrooms. Instead of the usual roadside dhabas that are often unhygienic, the food courts here offer a wide range of options—from local delicacies to popular fast-food chains. Whether you’re in the mood for a quick coffee break or a hearty meal, these stops cater to every traveler’s needs. And it’s not just about food—there are dedicated relaxation zones where travelers can stretch their legs, unwind, and even enjoy scenic views of the surrounding landscapes. This thoughtful addition makes long road trips much more enjoyable and less tiring. #indiabesthighway Scenic Beauty That Enhances the Drive A highway journey is as much about the views as it is about the drive, and this road does not disappoint. Flanked by lush greenery, rolling fields, and picturesque landscapes, it offers a visual treat at every turn. Unlike highways that cut through industrial zones and congested cities, this one allows travelers to experience the true beauty of India’s countryside. The carefully preserved natural surroundings and tree-lined stretches provide a refreshing contrast to the usual concrete-heavy routes. Whether you’re driving during sunrise or sunset, the scenery creates a postcard-perfect backdrop for your journey. #modernroad If you’re someone who loves road trips, this highway deserves a spot on your travel bucket list. Whether you’re heading out for an adventure, a family vacation, or a solo escape, this road ensures a memorable, comfortable, and hassle-free journey. So, the next time you’re planning a trip, ditch the flight and hit the road—you won’t regret it! #modernroad #modernroadmakers #indiabesthighway

Dear reader, I wrote this book for a boy I knew who died too young. I wrote this book for "our three winners" whose lives were ended by bigotry. I wrote this book for an inventive kid whose world was turned upside down because he built a clock. In America, we tend to ignore an uncomfortable history- our history. We want our wrongs to stay in the past to bury the truth and see history through rose-colored glasses, but the thing about buried truths? They come back to haunt you. For years, the ghosts of all those this nation has wronged have been rising up clamoring for their stories to be recognized. It's up to us to give voice to those whose voices have been forcibly oppressed or forgotten. We might not be able to give them Justice- because what is Justice to the victims of racism bigotry misogyny- but we can speak truth to power and insist on accountability. When I started writing Hollow Fires in 2019, it was against the backdrop of years of toxic damaging lies from our elected official, from the highest offices of this country. It was in the midst of a societal upheaval of people taking to the streets demanding change, so we could strive for that more perfect union politicians constantly laud. I wrote this book to ask uncomfortable questions and confront hard truths because inside us there's a small voice that says we can do better. We must. These voices need to be a chorus. A song we belt out together. And now as Hollow Fires goes to print, I'm watching heartbreaking images on the news of Afghans trying to flee their country fearful that the Taliban will retaliate against them, journalists, human rights workers and interpreters just like Jawad's father. Unfortunately, the United States has a terrible history of occupying other nations, asking those country's citizens for help, and then all too often ignoring the pleas of local allies and leaving them behind to potentially face imprisonment or torture for aiding the United States. We've witnessed Afghans desperately handing their babies to American soldiers over airport barricades, we've seen images of people trying to jump onto departing US. Military planes, reviving painful memories of Saigon in 1975, yet we hear a cacophony of hate from comfortably situated xenophobic American pundits decrying the potential influx of Afghan refugees. Mind you, these refugees have been forcibly displaced in part because of the actions of the United States and the few who are lucky enough to make it to the United States and get visas, permanent residency and citizenship (make no mistake these are huge hurdles) are sometimes cruelly subjected to bigotry and hate in the communities they land in as Americans. Shouldn't we ask more of ourselves? Isn't that what it means to call on the better angels of our nature? The commentators who scream against allowing in refugees, the same talking heads who think the horrifyingly inhumane treatment of migrants at our border with Mexico is justified buy into a deeply ingrained American myth- that they are always only "winners" and "losers". That war is a zero sum game. That extending a helping hand to a displaced individual somehow means that somewhere some American is getting less, but that binary is a lie. Here's the truth. Giving aid and comfort to a displaced person doesn't mean we can't also help Americans in need. We can and must do both. We have choices to make. Important ones. About our future, about who we are as a nation, as a people and as human beings. One of these choices is to live in a world where we call alternative facts what they really truly are- lies that obfuscate, deceits that give cover to Injustice, tools of cynical politicians. I'm asking us to speak tough truths out loud. To know we can do better and be better. I'm asking us to step forward, to face the truth of all we are, lanterns held high, eliminating the dark. Warmly, Samira Ahmed

In the US imagination, Southern California is a still-wet canvas where seekers who make their way here can paint whatever picture they like against a backdrop of natural beauty. My California is different. I grew up feeling watched by ghosts.

All living species on our planet are intelligent, for they have managed to survive, communicate, learn, build and grow amidst the changing backdrop of nature.

When you look for His fingerprint in nature, you find it everywhere. The design really is amazing. I think about how much He must love us to have created it this way, you know? If He wanted to create life, He could have just done it like an ant farm. He could have just created a surface for us and left it at that. But instead, He made something so intricate and full of wonder. I come out here every evening, and every evening, without fail, there is a different sky for me to look at. Sometimes it's full of color, sometimes there are clouds that look like someone honest-to-goodness painted them with a paintbrush, sometimes there are dark, ominous-looking clouds, and sometimes it's just all blue or all grey. Every single day, He creates a different backdrop for me. He gives me a picture in the sky that constantly changes. I just can't help but be thankful when I think about His creation. He must really just love us to make something so beautiful, you know?" Lances words caused tears to sting my eyes. It was a truth that I took for granted. I was thankful to him for reminding me that God cared enough to paint a different picture in the sky every day.

The Historical Setting of Genesis Mesopotamia: Sumer Through Old Babylonia Sumerians. It is not possible at this time to put Ge 1–11 into a specific place in the historical record. Our history of the ancient Near East begins in earnest after writing has been invented, and the earliest civilization known to us in the historical record is that of the Sumerians. This culture dominated southern Mesopotamia for over 500 years during the first half of the third millennium BC (2900–2350 BC), known as the Early Dynastic Period. The Sumerians have become known through the excavation of several of their principal cities, which include Eridu, Uruk and Ur. The Sumerians are credited with many of the important developments in civilization, including the foundations of mathematics, astronomy, law and medicine. Urbanization is also first witnessed among the Sumerians. By the time of Abraham, the Sumerians no longer dominate the ancient Near East politically, but their culture continues to influence the region. Other cultures replace them in the political arena but benefit from the advances they made. Dynasty of Akkad. In the middle of the twenty-fourth century BC, the Sumerian culture was overrun by the formation of an empire under the kingship of Sargon I, who established his capital at Akkad. He ruled all of southern Mesopotamia and ranged eastward into Elam and northwest to the Mediterranean on campaigns of a military and economic nature. The empire lasted for almost 150 years before being apparently overthrown by the Gutians (a barbaric people from the Zagros Mountains east of the Tigris), though other factors, including internal dissent, may have contributed to the downfall. Ur III. Of the next century little is known as more than 20 Gutian kings succeeded one another. Just before 2100 BC, the city of Ur took control of southern Mesopotamia under the kingship of Ur-Nammu, and for the next century there was a Sumerian renaissance in what has been called the Ur III period. It is difficult to ascertain the limits of territorial control of the Ur III kings, though the territory does not seem to have been as extensive as that of the dynasty of Akkad. Under Ur-Nammu’s son Shulgi, the region enjoyed almost a half century of peace. Decline and fall came late in the twenty-first century BC through the infiltration of the Amorites and the increased aggression of the Elamites to the east. The Elamites finally overthrew the city. It is against this backdrop of history that the OT patriarchs emerge. Some have pictured Abraham as leaving the sophisticated Ur that was the center of the powerful Ur III period to settle in the unknown wilderness of Canaan, but that involves both chronological and geographic speculation. By the highest chronology (i.e., the earliest dates attributed to him), Abraham probably would have traveled from Ur to Harran during the reign of Ur-Nammu, but many scholars are inclined to place Abraham in the later Isin-Larsa period or even the Old Babylonian period. From a geographic standpoint it is difficult to be sure that the Ur mentioned in the Bible is the famous city in southern Mesopotamia (see note on 11:28). All this makes it impossible to give a precise background of Abraham. The Ur III period ended in southern Mesopotamia as the last king of Ur, Ibbi-Sin, lost the support of one city after another and was finally overthrown by the Elamites, who lived just east of the Tigris. In the ensuing two centuries (c. 2000–1800 BC), power was again returned to city-states that controlled more local areas. Isin, Larsa, Eshnunna, Lagash, Mari, Assur and Babylon all served as major political centers.

He wanted the teahouse to blend in with nature and become more of a backdrop for the tea ceremony, so he helped influence its redesign. Over time, the teahouse became a simple hut set in a garden with mud and plaster walls, a thatched roof, a bamboo lattice ceiling, tatami floors, and small paper-covered windows. It became a refuge in the city meant to echo a mountain retreat, where samurai from warring clans, lowly merchants, and even the emperor could come together on equal footing and focus on nothing more than the sensory pleasures of the tea ceremony, such as the gentle bubbling of the tea water on the brazier, the seasonal flower arrangement in the alcove, and the smell of the particular incense chosen to represent the time of year.

Our world, according to Dharma, is a place that is replete with inherent meaning, value, and an intelligent design underlying its physical principles and laws, as well as a transcendent purpose that, while not necessarily discernible via empirical means, nonetheless forms a very concrete spiritual basis of all empirical reality. The material, according to Dharma, finds its origin and sustaining ground in the spiritual. The measurable is grounded upon the infinite. The spiritual necessarily precedes the material. The world is here for a purpose – and that purpose is God’s purpose. The word “dharma”, in this more important philosophical sense, refers to those underlying natural principles that are inherent in the very structure of reality, ordering our world as the metaphysical backdrop to the drama of everyday phenomenal existence, and that has their origin in the causeless will and grace of God. Dharma is Natural Law. Thus, if we needed to render the entire term Sanatana Dharma into English, we can cautiously translate it as „The Eternal Natural Way“. (p. 47)

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There's a pleasure in knowing the names of things. It's not about a need to categorise the world, sectioning it into little boxes. And clearly you don't have to know the names of rocks - or trees or plants or birds - in order to enjoy a landscape. But if you do have this information, something changes about the way you exist in that space. A named landscape thickens. It's to do with history and context but also, I think, with the quality of attention. To assign something its name, you need to take the time to pick out identifying features. You look for longer. And the more you know, the more things stop being a backdrop - blurred, indistinguishable, hurried over - and become somehow more present in the view, more insistently themselves, the way a familiar face stands out in a crowd.

In any case, the second point could be safely billed as the gist of Robert Frost's nature poetry. Nature for this poet is neither friend nor foe, nor is it the backdrop for human drama; it is this poet's terrifying self-portrait.

I knew I wanted to set my novel in West Michigan. I loved the idea of a mysterious tale told against the backdrop of Michigan’s natural beauty but also its wild dunes and powerful Lake Michigan.

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