Nesting Book Quotes

The tallest and oldest trees that seemed to have just have casually always been there, hold the greatest love: as it nurtures love for others: providing shade for two lovers, becoming home for birds to build a nest, and giving food to the squirrels whom scurry upon it.

Do you know what they call people who hoard books? Smart.

Books are many things: lullabies for the weary, ointment for the wounded, armour for the fearful and nests for those in need of a home.

Being apart was wrong. Simply lying side by side did more for a relationship than words. A warm bed, a nest of animal intimacy. Words could be misunderstood, whereas loving companionship bred trust.

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

Books mimic adrenaline to the narratively restless: nests of worlds in which the mind takes predestined flights from time and place.

I'm not intimidated by books. I would crush them in a fight.

Never, my little one, hide anything from those that love you. Never let anything that makes itself a nest in your heart, grow into a secret, for then at once it will begin to eat a hole in it.

Books are many things: lullabies for the weary, ointment for the wounded, armor for the fearful, and nests for those in need of a home.

The disorder in Yashar's apartment was that comfortable littering and stacking that only another writer can recognize as order - the considered scatter of papers and books a writer builds around himself until it acquires the cozy solidity of a nest.

Love the stale glitter on your tired face and the tangled bird’s nest you call hair. Love your wobbly messiness, bad grammar, and sailor cussing flair. Love the crystals falling out of your bra and the feathers stuffed in your pocket. Love the scariness of what you know is held in your little heart locket.

And alone and without his nest shall the eagle fly across the sun.

Everyone needs time to develop their dreams. An egg in the nest doesn't become a bird overnight.

I wanted someone above me in the chain of life. I didn't want to be alone, a single blue egg in a crumbling nest.

Okay, listen up, dudes. We have to book. Yesterday, when I find you guys are, like, AWOL? I, like, freak. Yelling at everybody–where are they, why did you let them leave–the hotel people are, like, whaaaa? Anyway, I pack up all your stuff, figuring I may never see the place again, and down in the lobby I find my man Arif. I'm, like, help me, and he takes all of our stuff to this launch–and then we're halfway across the sea when Arif gets this radio message, and he's all excited, but I don't know what he's saying until he's, like, 'POLICE!' in English. And we see these cop cars and somebody's getting a big old boat, so we're, like, sayonara, only in Indonesian, and we tool out into this boat-traffic jam to try to loose them, and I'm hearing these radio reports that are half English–there's been a fire and somebody's dead, yada yada, and I'm totally wigging out–Why did you do that? Why did you and your sister leave me in a hotel without even a note?

I enter the world called real as one enters a mist. Our life is a book that writes itself and whose principal themes sometimes escape us. We are like characters in a novel who do not always understand what the author wants of them. I don't want to go on playing in a world where everyone cheats. Where everyone cheats - not only men and women, but sometimes even God.

Marriage and family are only what we make of them. Without that they’re just a nest of hypocrisy. Garbage and empty words. But if there is real love, of the sort one doesn’t go around telling everyone about, the sort that is felt and lived…

He'd never been in my house before and I was self-conscious, embarrassed by it. I was painfully aware of the fact that we didn't have enough books. My own room was less overtly deficient-- over the years I'd insulated myself from the rest of the house (the rest of the neighborhood, the rest of Ohio) with layers of ink and paper and poetry, like a squirrel lining a nest.

Word. A verb. Harmony of speech. A crystal termite nest of meanings. Inhuman beauty. Infinite cognition. Page after page, and the book does not end, the most fascinating book, is it possible that Sasha would not know what happens next?

Si je suis, je suis, ce n'est plus suis-je mais c'est celui qui suis que je suis.

God gives every bird its food, but He does not throw it into the nest. J. G. HOLLAND

The idea that “it takes money to make money” is the thinking of financially unsophisticated people. It does not mean that they’re not intelligent. They have simply not learned the science of money making money. Money is only an idea. If you want more money, simply change your thinking. Every self-made person started small with an idea, and then turned it into something big. The same applies to investing. It takes only a few dollars to start and grow it into something big. I meet so many people who spend their lives chasing the big deal, or trying to amass a lot of money to get into a big deal, but to me that is foolish. Too often I have seen unsophisticated investors put their large nest egg into one deal and lose most of it rapidly. They may have been good workers, but they were not good investors. Education and wisdom about money are important. Start early. Buy a book. Go to a seminar. Practice. Start small. I turned $5,000 cash into a one-million-dollar asset producing $5,000 a month cash flow in less than six years. But I started learning as a kid. I encourage you to learn, because it’s not that hard. In fact, it’s pretty easy once you get the hang of it. I think I have made my message clear. It’s what is in your head that determines what is in your hands. Money is only an idea. There is a great book called Think and Grow Rich. The title is not Work Hard and Grow Rich. Learn to have money work hard for you, and your life will be easier and happier. Today, don’t play it safe. Play it smart.

ISCARIOT" "A box of doves I placed beside your chest Liar A stork of silk With rubies in it's nest Fire Of my love Will burn thee to a wizened word For ere to go unheard. A mare of wood Elder, elm and oak Liar Will keep you fair If you jest me no joke Fire Of my love Will burn thee to a wizened word For ere to go unheard. I'm old and bruised But my fate is that of youth Liar Trickster you Be a grisly dragon's tooth Fire Of my love Will burn thee to a wizened word For ere to go unheard. You gashed the heart of my heart Like a Portuguese Witch, I'd planned for you this land But you devoured my hand.

Books, he thought, were a sort of migratory bird. Here they rested a while, weary of their travels, before taking flight again, before moving, settling in another nest for a time. They seemed to him like a flock that had descended on these tables, pages fluttering like wings, and here they rested in the shade, enjoying the lull, knowing it would soon be time to go on their way again.

In her book The Reluctant Entertainer, Sandy Coughlin writes, “Excellence is working toward an attainable goal that benefits everyone, while perfection comes from a place of great need — usually the need to avoid criticism and gain praise and approval from others.

The cases described in this section (The Fear of Being) may seem extreme, but I have become convinced that they are not as uncommon as one would think. Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity into doubt. We are like the inmates of a mental institution who must accept its inhumanity and insensitivity as caring and knowledgeableness if they hope to be regarded as sane enough to leave. The question who is sane and who is crazy was the theme of the novel One Flew Over The Cuckoo's Nest. The question, what is sanity? was clearly asked in the play Equus. The idea that much of what we do is insane and that if we want to be sane, we must let ourselves go crazy has been strongly advanced by R.D. Laing. In the preface to the Pelican edition of his book The Divided Self, Laing writes: "In the context of our present pervasive madness that we call normality, sanity, freedom, all of our frames of reference are ambiguous and equivocal." And in the same preface: "Thus I would wish to emphasize that our 'normal' 'adjusted' state is too often the abdication of ecstasy, the betrayal of our true potentialities; that many of us are only too successful in acquiring a false self to adapt to false realities." Wilhelm Reich had a somewhat similar view of present-day human behavior. Thus Reich says, "Homo normalis blocks off entirely the perception of basic orgonotic functioning by means of rigid armoring; in the schizophrenic, on the other hand, the armoring practically breaks down and thus the biosystem is flooded with deep experiences from the biophysical core with which it cannot cope." The "deep experiences" to which Reich refers are the pleasurable streaming sensations associated with intense excitation that is mainly sexual in nature. The schizophrenic cannot cope with these sensations because his body is too contracted to tolerate the charge. Unable to "block" the excitation or reduce it as a neurotic can, and unable to "stand" the charge, the schizophrenic is literally "driven crazy." But the neurotic does not escape so easily either. He avoids insanity by blocking the excitation, that is, by reducing it to a point where there is no danger of explosion, or bursting. In effect the neurotic undergoes a psychological castration. However, the potential for explosive release is still present in his body, although it is rigidly guarded as if it were a bomb. The neurotic is on guard against himself, terrified to let go of his defenses and allow his feelings free expression. Having become, as Reich calls him, "homo normalis," having bartered his freedom and ecstasy for the security of being "well adjusted," he sees the alternative as "crazy." And in a sense he is right. Without going "crazy," without becoming "mad," so mad that he could kill, it is impossible to give up the defenses that protect him in the same way that a mental institution protects its inmates from self-destruction and the destruction of others.

I know what you are thinking - you need a sign. What better one could I give than to make this little one whole and new? I could do it, but I will not. I am the Lord and not a conjurer. I gave this mite a gift I denied to all of you - eternal innocence. To you, he looks imperfect but to me he is flawless like the bud that dies unopened or the fledgling that falls from the nest to be devoured by the ants. He will never offend me, as all of you have done. He will never pervert or destroy the work of my Father's hands. He is necessary to you. He will evoke the kindness that will keep you human. His infirmity will prompt you to gratitude for your own good fortune. More! He will remind you every day that I am who I am, that my ways are not yours, and that the smallest dust mite, while in darkest space, does not fall out of my hand. I have chosen you. You have not chosen me. This little one is my sign to you. Treasure him!

Two whores on their way down from Portland to take us deep-sea fishing in a boat! It made it tough to stay in bed until the dorm lights came on at six-thirty,

Every pore mourns. Not the brain, nor the chest where bereavement nests, but the body, whole-- how it burns. The ache of new bone being grown.

L'écriture automatique, c'est lorsque votre bras et votre main sont guidées par une autre force, et bien souvent personne n'est plus étonné de ce qui est écrit que la personne qui écrit.

The Biblical account describing God as an eagle teaching his eaglets to fly is exactly the process readers go through as they work through the chapters of this book. "Like an eagle that stirs up its nest and hovers over its young, that spreads its wings to catch them and carries them on its pinions." Deut. 32:11

After all, when no name springs spontaneously to mind, when you have to rummage in your address book for someone to invite, it is always best to give up trying, if only out of regard for the very concept of friendship.

The gangs filled a void in society, and the void was the absence of family life. The gang became a family. For some of those guys in the gang that was the only family they knew, because when their mothers had them they were too busy having children for other men. Some of them never knew their daddies. Their daddies never look back after they got their mothers pregnant, and those guys just grew up and they couldn’t relate to nobody. When they had their problems, who could they have talked to? Nobody would listen, so they gravitated together and form a gang. George Mackey, the former representative for the historic Fox Hill community in The Bahamas.

Amelia and Poppy both glanced at their younger sister quizzically. “Do you know what we’re talking about, Bea?” Amelia asked. “Yes, of course. Merripen’s in love with her. I knew it a long time ago, from the way he washed her window.” “Washed her window?” both older sisters asked at the same time. “Yes, when we lived in the cottage at Primrose Place. Win’s room had a casement window that looked out onto the big maple tree— do you remember? After the scarlet fever, when Win couldn’t get out of bed for the longest time and she was too weak to hold a book, she would just lie there and watch a birds’ nest on one of the tree limbs. She saw the baby swallows hatch and learn to fly. One day she complained that the window was so dirty, she could barely see through it, and it made the sky look grayish. So from then on Merripen always kept the glass spotless. Sometimes he climbed a ladder to wash the outside, and you know how afraid of heights he is. You never saw him do that?” “No,” Amelia said with difficulty, her eyes stinging. “I didn’t know he did that.” “Merripen said the sky should always be blue for her,” Beatrix said. “And that was when I knew he … are you crying, Poppy?” Poppy used a napkin to dab at the corners of her eyes. “No. I just inh-haled some pepper.” “So did I,” Amelia said, blowing her nose.

Le livre, comme livre, appartient à l'auteur, mais comme pensée, il appartient -le mot n'est pas trop vaste- au genre humain. Toutes les intelligences y ont droit. Si l'un des deux droits, le droit de l'écrivain et le droit de l'esprit humain, devait être sacrifié, ce serait, certes, le droit de l'écrivain, car l'intérêt public est notre préoccupation unique, et tous, je le déclare, doivent passer avant nous.

A river can't forgive because it is only capable, in the first place, of love. A river loves the dumpers, the polluters, the slayers, the nest-thieves, the bird-killers, the dammers, the water-stealers. A river loves even the clear-cutters. But I can forgive. I am trying to be like the river.

They didn’t mind so much when I was a dumb logger and got into a hassle; that’s excusable, they say, that’s a hard-workin’ feller blowing off steam, they say. But if you’re a gambler, if they know you to get up a back-room game now and then, all you have to do is spit slantwise and you’re a goddamned criminal.

Un roman, n'est pas une allégorie, ai-je conclu. C'est l'expérience, à travers nos propres sens, d'un autre monde. Si vous n'entrez pas dans ce monde, si vous ne retenez pas votre souffle en même temps que les personnages qui le peuplent, si vous ne vous impliquez pas dans ce qui va leur arriver, vous ne connaîtrez pas l'empathie, et l'empathie est au cœur du roman. Voilà comment il faut lire la fiction, en inhalant l’expérience qu'elle vous propose. Alors commencez à inspirer.

Antonia: I meant to tell you, and then forgot: call a spade a spade, and say 'arse', 'prick', 'cunt', and 'fuck', otherwise the only people who'll understand you will be the scholars of the Capranica think tank - you and your 'rose in the ring', your 'obelisk in the arsenal' your 'leek in the garden', your 'bolt in the door', your 'key in the lock', your 'pestle in the mortar', your 'nightingale in the nest', your 'sapling in the ditch', your 'syringe in the flap-valve', your 'sword in the sheath'; and the same goes for 'the stake', 'the crozier', the parsnip', 'the little monkey', 'his thingummy', 'her thingummy', 'the apples', 'the leaves of the mass book', 'that thingy', 'the graceful whatyamacallit', 'that whatsit', 'that doings', 'that latest news', 'the handle', 'the dart', 'that carrot', 'the root' and all the other shit that comes out of your mouth, but there you go, pussyfooting around. Let your yes mean yes, your no, no, and otherwise, just shut it.

Bad or good, movies nearly always have a strange diminishing effect on works of fantasy (of course there are exceptions; The Wizard of Oz is an example which springs immediately to mind). In discussions, people are willing to cast various parts endlessly. I've always thought Robert Duvall would make a splendid Randall Flagg, but I've heard people suggest such people as Clint Eastwood, Bruce Dern and Christopher Walken. They all sound good, just as Bruce Springsteen would seem to make an interesting Larry Underwood, if ever he chose to try acting (and, based on his videos, I think he would do very well ... although my personal choice would be Marshall Crenshaw). But in the end, I think it's best for Stu, Larry, Glen, Frannie, Ralph, Tom Cullen, Lloyd, and that dark fellow to belong to the reader, who will visualize them through the lens of the imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction - anyone who has ever seen One Flew Over The Cuckoo's Nest and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad ... but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.

A Friendship Blessing May you be blessed with good friends. May you learn to be a good friend to yourself. May you be able to journey to that place in your soul where there is great love, warmth, feeling, and forgiveness. May this change you. May it transfigure that which is negative, distant, or cold in you. May you be brought in to the real passion, kinship, and affinity of belonging. May you treasure your friends. May you be good to them and may you be there for them; may they bring you all the blessings, challenges, truth, and light that you need for your journey. May you never be isolated. May you always be in the gentle nest of belonging with your anam ċara.

Paint a line with blood and, standing over it, shake a nest of spiders good and hard. They fall to this side of the divide. They fall to that side of the divide. Thus did the gods fall, taut-legged and ready, as the heavens trembled, and in the scattering rain of drifting web – all these dread cut threads of scheming settling down – skirling now in the winds that roared sudden, alive and vengeful, to pronounce in tongues of thunder, the gods were at war. Slayer of Magic A History of the Host of Days Sarathan

Some friendships develop like flowers in a garden: they are conscientiously planted and nurtured. The ground about them is kept clear of competition. Then, after some weeks and months of incremental growth and laborious pruning, a flower blooms. Such cultivated friendships are agreeable and convenient, if not enduring. Other friendships seem to arise spontaneously, like an egg in a nest or a freckle upon an arm, and these are often mystifying, as both parties are left to wonder how exactly this unexpected affection took hold.

Impossible n'est pas Français.

Make a change! It's all about you! You may not be able to prevent the bird from flying over your head; but you can prevent it from making a nest on your head!

مثل عالم كرتوني، حيث الشخةص مسطحة ومخططة بالأسود، تتراقص في قصة هزلية كان يمكن لها أن تكون مضحكة حقاً لولا أن شخوصها ليسوا من الكرتون بل هم بشر حقيقيون

Sometimes it's hard to see everything going on in the garden when your nest is perched at the top of the tree.

Books are many things; lullabies for the weary, ointment for the wounded, armour for the fearful and nests for those in need of a home.

Paul Fussell, in his book Wartime, has the best definition:

Unless I weaken—and I might—I think I’ll be sure I can fly before I return to the nest. It should be interesting … if nothing else.

Geese were safe as long as one of them did not stray from the rest and become a goose, and if one of a family of mice wandered from the nest, he became a mouse and lost his impunity.

If one overshoots the goal, one cannot hit it. If a bird will not come to its nest but flies higher and higher, it eventually falls into the hunter's net. He who in times of extraordinary salience of small things does not know how to call a halt, but restlessly seeks to press on and on, draws upon himself misfortune at the hands of gods and men, because he deviates from the order of nature.

Destiny comes suddenly, bringing concern; she stares at you with horrible eyes and clutches you at the throat with sharp fingers and hurls you to the ground and tramples upon you with ironclad feet; then she laughs and walks away, but later regrets her actions and asks you through good fortune to forgive her. She stretches her silky hand and lifts you high and sings to you the Song of Hope and causes you to lose your cares. She creates in you a new zest for confidence and ambition. If your lot in life is a beautiful bird that you love dearly, you gladly feed to him the seeds of your inner self, and make your heart his cage and your soul his nest. But while you are affectionately admiring him and looking upon him with the eyes of love, he escapes from your hands and flies very high; then he descends and enters into another cage and never comes back to you. What can you do? Where can you find patience and condolence? How can you revive your hopes and dreams? What power can still your turbulent heart?

Et voilà, mon passé n’est plus qu’un trou énorme. Mon présent: cette bonne au corsage noir qui rêve près du comptoir, ce petit bonhomme. Tout ce que je sais de ma vie, il me semble que je l’ai appris dans des livres.

No purer artist exists or has ever existed than a child freed to imagine. This scattering of sticks in the dust, that any adult might kick through without a moment’s thought, is in truth the bones of a vast world, clothed, fleshed, a fortress, a forest, a great wall against which terrible hordes surge and are thrown back by a handful of grim heroes. A nest for dragons, and these shiny smooth pebbles are their eggs, each one home to a furious, glorious future. No creation was ever raised as fulfilled, as brimming, as joyously triumphant, and all the machinations and manipulations of adults are the ghostly recollections of childhood and its wonders, the awkward mating to cogent function, reasonable purpose; and each façade has a tale to recount, a legend to behold in stylized propriety. Statues in alcoves fix sombre expressions, indifferent to every passer-by. Regimentation rules these creaking, stiff minds so settled in habit and fear.

bookshelves, which were full of what she thought of as “fake” books—the books were real enough but if Celia Baxter had read Thomas Pynchon or Samuel Beckett or even all—any!—of the Philip Roths and Saul Bellows lined in a row, she’d eat her mittens.

There is not a day that has passed since that I do not thank Adolf Hitler for allowing me to be associated with the most talented and inspiring group of men that I have ever known.” Every member of Easy interviewed by this author for this book said something similar.

I always thought that my future self would have ranks of books like my professor, all of them read and understood, an achievement in the past tense that proved I had become something. I now see that this was not what she showed me. She offered me instead the act of knowing, rather than the static fact of the known, a lifetime of enquiry. I don't want to sit like a brooding hen on the nest of my past achievements. I want to keep on going deep into the uncertain act of making, to see the unknown world stretch out before me and to devote myself to exploring it. So I begin again, just as I have before. I have learned to be grateful for these losses, painful and disorienting as they are. They make me small again. The next world is so tantalising, lying across a million unread pages, and in which I am nothing, nobody, new.

The goal is for your children to feel as if they can come to you without fear or disappointment, anger, or judgment. That means both of you have to make the shift and it starts with you- you have t make the effort to see them in a new light so they see themselves in that light too.

Perdu wanted Anna to feel that she was in a nest. He wanted her to sense the boundless possibilities offered by books. They would always be enough. They would never stop loving their readers. They were a fixed point in an otherwise unpredictable world. In life. In love. After death.

After the Family was caught, Time magazine picked up on the bizarre parallels between Stranger in a Strange Land and Manson’s own “nest.” In January 1970, it ran a piece called “A Martian Model?” arguing that Manson had “no powers of invention at all… He may have murdered by the book.

Aos activos falta, habitualmente, a actividade superior: refiro-me à individual. Eles são activos enquanto funcionários, comerciantes, eruditos, isto é, como seres genéricos, mas não enquanto pessoas perfeitamente individualizadas e únicas; neste aspecto, são indolentes. A infelicidade das pessoas activas é a sua actividade ser quase sempre um tanto absurda. Não se pode, por exemplo, perguntar ao banqueiro, que junta dinheiro, qual o objectivo da sua incansável actividade: ela é irracional. Os homens activos rebolam como rebola a pedra, em conformidade com a estupidez da mecânica.

The book you’re holding in your hands was many books before it was this one. Nested inside this version are the others: the version I began deep inside my sadness, thumbed into my phone in bed on sleepless nights; the one I scribbled out with sparks in my hair. You’ll see pieces of those books inside this one. Why? Because I’m trying to get to the truth, and I can’t get there except by looking at the whole, even the parts I don’t want to see. Maybe especially those parts. I’ve had to move into—and through—the darkness to find the beauty. Spoiler alert: It’s there. The beauty’s there.

Hideous, she thought, and then thought that if the house burned away someday the tower would still stand, gray and forbidding over the ruins, warning people away from what was left of Hill House, with perhaps a stone fallen here and there, so owls and bats might fly in and out and nest among the books below.

I know what you are thinking - you need a sign. What better one could I give than to make this little one whole and new? I could do it, but I will not. I am the Lord and not a conjurer. I gave this mite a gift I denied to all of you - eternal innocence. To you, he looks imperfect but to me he is flawless like the bud that dies unopened or the fledgling that falls from the nest to be devoured by the ants. He will never offend me, as all of you have done. He will never pervert or destroy the work of my Father's hands. He is necessary to you. He will evoke the kindness that will keep you human. His infirmity will prompt you to gratitude for your own good fortune. More! He will remind you every day that I am who I am, that my ways are not yours, and that the smallest dust mite, while in darkest space, does not fall out of my hand. I have chosen you. You have not chosen me. This little one is my sign to you. Treasure him!

In such circumstances, small steps such as protecting a nesting site may seem inadequate. But they are a start....as Carl Safina puts in, 'You dodge despair not by taking the deluge of problems full bore. You focus on what can work, what can help, or what you can do, and you seize it, and then - you don't let go.

Almost all of Mr. Cobb’s function—aside from lighting cigarettes for me, and pausing respectfully when my husband spoke—seemed to consist of taking objects which actually existed in almost square feet, and translating them into cubic feet—rugs had to be rolled, books had to be boxed, pictures had to be put into packing cases.

A wealth of nuances, family expectations, words, and laughter. So many stories that are by themselves unremarkable, but together are meaningful and the story of our lives so far. And yes, there are more to come, but not the same kind of stories-in the same house with the same dynamic- with each of us in our set role before we make the big shift to the future us.

We have both been talking about you. Cosette loves you so dearly! You must not forget that you have a chamber here, we want nothing more to do with the Rue de l'Homme Armé. We will have no more of it at all. How could you go to live in a street like that, which is sickly, which is disagreeable, which is ugly, which has a barrier at one end, where one is cold, and into one cannot enter? You are to come and install yourself here. And this very day. Or you will have to deal with Cosette. She means to lead us all by the nose, I warn you. You have your own chamber here, it is close to ours, it opens on the garden; the trouble with the clock has been attended to, the bed is made, it is all ready, you have only to take possession of it. Near your bed Cosette has placed a huge, old, easy-chair covered with Utrecht velvet and she has said to it: 'Stretch out your arms to him.' A nightingale comes to the clump of acacias opposite your windows every spring. In two months more you will have it. You will have its nest on your left and ours on your right. By night it will sing, and by day Cosette will prattle. Your chamber faces due South. Cosette will arrange your books for you, your Voyages of Captain Cook and the other,— Vancouver's and all your affairs. I believe that there is a little valise to which you are attached, I have fixed upon a corner of honor for that. You have conquered my grandfather, you suit him. We will live together. Do you play whist? you will overwhelm my grandfather with delight if you play whist. It is you who shall take Cosette to talk on the days when I am at the courts, you shall give her your arm, you know, as you used to, in the Luxembourg. We are absolutely resolved to be happy. And you shall be included in it, in our happiness, do you hear, father? Come, will you breakfast with us to-day?" "Sir," said Jean Valjean, "I have something to say to you. I am an ex-convict.

Celebrities are our heroes and heroines now, discussed the next day over latte or lunch. We have such a strong need to talk to each other, to have some commonality of story, that we're finding it in celebrities. In effect, we're turning reality into fiction. Using actors and actresses, just off duty. And how is this working for us? Not great. It leaves us with a perennially empty feeling. We find the celebrities empty, and at some level, we find ourselves empty for paying them so much attention. We've become reluctant voyeurs, and at some level, we know they're just people trying to live their lives. Our culture begins to lack content, depth, and substance. We miss the richness of human experience that story embodies, reflects, and carries forward. We might have to go back to reading books. Yay!

Ma vie n’est pas cette heure abrupte où tu me vois précipité Je suis un arbre devant mon décor, Je ne suis qu’une de mes bouches, celle de toutes qui se clora la première. Je suis l’intervalle entre les deux notes qui ne s’accordent l’une et l’autre qu’à grand’peine, car celle de la mort voudrait monter plus haut… Mais toutes deux, vibrant durant l’obscure pause, se sont réconciliées. Et le chant reste beau.

On crie qu'on veut façonner un avenir meilleur, mais ce n'est pas vrai. L'avenir n'est qu'un vide indifférent qui n'intéresse personne, mais le passé est plein de vie et son visage irrite, révolte, blesse, au point que nous voulons le détruire ou le repeindre. On ne veut être maître de l'avenir que pour pouvoir changer le passé. On se bat pour avoir accès aux laboratoires où on peut retoucher les photos et récrire les biographies et l'Histoire.

The biggest is family- unless they are certifiable or criminals, try to keep your kids connected to their cousins, aunts, uncles, grandparents, whatever you've got, even if it means sacrificing vacations and that new fridge. And visit each other in good times and bad. It teaches your kids more than you can imagine about love and loyalty, and means they will not always have a place to celebrate and someone to celebrate with, but a net to catch them if they fall.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Birds arrived. Gulls landed within weeks of the island’s emergence, depositing the guano that built a richer soil. Fulmars and guillemots were the first to nest. Snow buntings and graylag geese came, almost ninety bird species in all, and twenty-one species of butterfly and moth. The first bush—a willow—came fifteen years after creation, and five years after the willows, seals were breeding on the young island. The descriptions make Surtsey sound like an orchestra, one instrument after another joining until there was the symphony that is an ecosystem.

JANUARY 25 Loving Yourself I begin to realize that in inquiring about my own origin and goal, I am inquiring about something other than myself…. In this very realization I begin to recognize the origin and goal of the world. —MARTIN BUBER In loving ourselves, we love the world. For just as fire, rock, and water are all made up of molecules, everything, including you and me, is connected by a small piece of the beginning. Yet, how do we love ourselves? It is as difficult at times as seeing the back of your head. It can be as elusive as it is necessary. I have tried and tripped many times. And I can only say that loving yourself is like feeding a clear bird that no one else can see. You must be still and offer your palmful of secrets like delicate seed. As she eats your secrets, no longer secret, she glows and you lighten, and her voice, which only you can hear, is your voice bereft of plans. And the light through her body will bathe you till you wonder why the gems in your palm were ever fisted. Others will think you crazed to wait on something no one sees. But the clear bird only wants to feed and fly and sing. She only wants light in her belly. And once in a great while, if someone loves you enough, they might see her rise from the nest beneath your fear. In this way, I've learned that loving yourself requires a courage unlike any other. It requires us to believe in and stay loyal to something no one else can see that keeps us in the world—our own self-worth. All the great moments of conception—the birth of mountains, of trees, of fish, of prophets, and the truth of relationships that last—all begin where no one can see, and it is our job not to extinguish what is so beautifully begun. For once full of light, everything is safely on its way—not pain-free, but unencumbered—and the air beneath your wings is the same air that trills in my throat, and the empty benches in snow are as much a part of us as the empty figures who slouch on them in spring. When we believe in what no one else can see, we find we are each other. And all moments of living, no matter how difficult, come back into some central point where self and world are one, where light pours in and out at once. And once there, I realize—make real before me—that this moment, whatever it might be, is a fine moment to live and a fine moment to die.

Les rêves préparent la vie et ils te déterminent sans que tu comprennes leur langage. On aimerait apprendre ce langage, mais qui est capable de l'enseigner et de l'apprendre ? Car l'érudition seule ne suffit pas ; il existe un savoir du cœur qui donne de plus profondes explications. Le savoir du cœur ne se trouve dans aucun livre et dans la bouche d'aucun professeur, mais il grandit en toi comme la graine verte sort de la terre noire. L'érudition fait partie de l'esprit de ce temps, mais cet esprit ne saisit aucunement le rêve, car l'âme est partout où le savoir érudit n'est pas. (p. 155)

« Dans nos écoles on nous enseigne le doute et l’art d’oublier. Avant tout l’oubli de ce qui est personnel et localisé. » « — Personne ne peut lire deux mille livres. Depuis quatre siècles que je vis je n’ai pas dû en lire plus d’une demi-douzaine. D’ailleurs ce qui importe ce n’est pas de lire mais de relire. L’imprimerie, maintenant abolie, a été l’un des pires fléaux de l’humanité, car elle a tendu à multiplier jusqu’au vertige des textes inutiles. — De mon temps à moi, hier encore, répondis-je, triomphait la superstition que du jour au lendemain il se passait des événements qu’on aurait eu honte d’ignorer. » « — À cent ans, l’être humain peut se passer de l’amour et de l’amitié. Les maux et la mort involontaire ne sont plus une menace pour lui. Il pratique un art quelconque, il s’adonne à la philosophie, aux mathématiques ou bien il joue aux échecs en solitaire. Quand il le veut, il se tue. Maître de sa vie, l’homme l’est aussi de sa mort[30]. — Il s’agit d’une citation ? lui demandai-je. — Certainement. Il ne nous reste plus que des citations. Le langage est un système de citations. » Extrait de: Borges,J.L. « Le livre de sable. » / Utopie d’un homme qui est fatigué

But if my father could stand up to schoolmasters and if he inherited some of his own father's gifts as a teacher, he himself could never have become one. He could teach and loved teaching. He could radiate enthusiasm, but he could never impose discipline. He could never have taught a dull subject to a dull boy, never have said: "Do this because I say so." Enthusiasm spread knowledge sideways, among equals. Discipline forced it downwards from above. My father's relationships were always between equals, however old or young, distinguished or undistinguished the other person. Once, when I was quite little, he came up to the nursery while I was having my lunch. And while he was talking I paused between mouthfuls, resting my hands on the table, knife and fork pointing upwards. "You oughtn't really to sit like that," he said, gently. "Why not?" I asked, surprised. "Well..." He hunted around for a reason he could give. Because it's considered bad manners? Because you mustn't? Because... "Well," he said, looking in the direction my fork was pointing, "Suppose somebody suddenly fell through the ceiling. They might land on your fork and that would be very painful." "I see," I said, though I didn't really. It seemed such an unlikely thing to happen, such a funny reason for holding your knife and fork flat when you were not using them... But funny reason or not, it seems I have remembered it. In the same sort of way I learned about the nesting habits of starlings. I had been given a bird book for Easter (Easter 1934: I still have the book) and with its help I had made my first discovery. "There's a blackbird's nest in the hole under the tiles just outside the drawing-room window," I announced proudly. "I've just seen the blackbird fly in." "I think it's probably really a starling," said my father. "No, it's a blackbird," I said firmly, hating to be wrong, hating being corrected. "Well," said my father, realizing how I felt but at the same time unable to allow an inaccuracy to get away with it, "Perhaps it's a blackbird visiting a starling." A blackbird visiting a starling. Someone falling through the ceiling. He could never bear to be dogmatic, never bring himself to say (in effect): This is so because I say it is, and I am older than you and must know better. How much easier, how much nicer to escape into the world of fantasy in which he felt himself so happily at home.

Wallace would never realize his political ambitions, but he would certainly play a part in seeing that Johnson realized his. After the assassination of President Kennedy, a fingerprint was found on a cardboard box in the sniper’s nest on the sixth floor of the Texas School Book Depository. It could not be linked with Oswald, any other employee of the Texas School Book Depository, or any law enforcement officer who had handled the box. Wallace’s print from his previous conviction and the one found on the box were a match, according to fingerprint expert A. Nathan Darby, former head of Austin’s police identification unit. Darby was the most experienced certified latent print examiner in America, with more than thirty-five years of military forensic and police experience. An initial comparison found a match between the two prints on fourteen unique points while Darby ultimately ascertained that the two prints had thirty-two matching points,65 far exceeding the requirement for identification and conviction. “I’m positive,” said Darby. “The finger that made the ink print also made the latent print. It’s a match.” In comparison, “the Dallas police found only three partial fingerprints of Oswald on only two of the boxes in the area.”66

Once upon a time there was a river who, like all rivers, knew exactly where she wished to go. Some people willed her to change her course, and when she did not bend to their will, they began to tear her apart, pebble by pebble, stone by stone. Of course, the river won in the end, and returned to her route with a wet sigh of relief, running the length of her spine against the familiar gray rocks and stretching luxuriantly against the grooves of earth she had known for centuries. And she made sure that the people paid dearly for their foolishness. from P. Johansen’s Book of Remembered Norse Folk Tales, 1999 (trans. A. Faraday) 1 endless dark NOW

Beneath the notebook she found the book of fairy tales. The cover was green cardboard, the writing gold: 'Magical Tales for Girls and Boys', by Eliza Makepeace. Cassandra repeated the author's name, enjoying the mysterious rustle against her lips. She opened it up and inside the front cover was a picture of a fairy sitting in a bird's woven nest: long flowing hair, a wreath of stars around her head, and large, translucent wings. When she looked more closely, Cassandra realized that the fairy's face was the same as that in the sketch. A line of spidery writing curled around the base of the nest, proclaiming her "Your storyteller, Miss Makepeace.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Everything felt wrong. She needed to go home, to her dad’s small lab in the basement, to curl up on one of the tables like she used to. It had been a long time since she’d last brought a quilt down and made a nest for herself among the books, tubes, and wires—a million years or however long it took light to travel. She’d rest her cheek on the table and listen to her dad talk about space. She’d been little when he’d told her about the beginning of the universe and how the solar system was born. How the sun was like an island, and the planets were ships sailing around it. He’d said, “Pluto is our far star sailor,” the way other people said Once upon a time. His words opened a door inside her. She wished she’d brought her NASA book, with six full pages on the “Thirty-Five New Guys,” the Astronaut Class of 1978, NASA’s first new group of astronauts since 1969. On Sally Ride, on Challenger—which she realized was gone now—on Judy Resnik, mission specialist, the second American woman in space. Who Nedda wanted to be. Who was gone now too. They were gas and carbon—and what else? They had to be something else. She wanted her stupid little-kid pony, but it was in the classroom. She wanted to go fishing with Denny, even if it was too cold. She wanted to smell her mother’s perfume until she was sick from it. She wanted to eat all the icing roses off that stupid cake until Betheen yelled.

Augustine, who assumed that Genesis 1 was chapter 1 in a book that contained the literal words of God, and that Genesis 2 was the second chapter in the same book, put the two chapters together and read the latter as a sequel. Genesis 2, he assumed, described the fall from the perfection and original goodness of creation depicted in chapter 1. So almost inevitably the Christian scriptures from the fourth century on were interpreted against the background of this (mis) understanding. The primary trouble with this theory was that by the fourth century of the Common Era there were no Jews to speak of left in the Christian movement, and therefore the only readers and interpreters of the ancient Hebrew myths were Gentiles, who had no idea what these stories originally meant. Consequently, they interpreted them as perfection established by God in chapter 1, followed by perfection ruined by human beings in chapter 2. Why was that a problem? Well I, for one, have never known a Jewish scripture scholar to treat the Garden of Eden story in the same way that Gentiles treat it. Jews tend to see this story not as a narrative about sin entering the world, but as a parable about the birth of self-consciousness. It is, for the Jews, not a fall into sin, but a step into humanity. It is the birth of a new relationship with God, changing from master-servant to interdependent cooperation. The forbidden fruit was not from an apple tree, as so many who don’t bother to read the text seem to think. It was rather from “the tree of knowledge,” and the primary thing that one gained from eating the fruit of the tree of knowledge was the ability to discern good from evil. Gaining that ability did not, in the minds of the Jewish readers of the book of Genesis, corrupt human nature. It simply made people take responsibility for their freely made decisions. A slave has no such freedom. The job of the slave is simply to obey, not to think. The job of the slave-master is to command. Thus the relationship of the master to the slave is a relationship of the strong to the weak, the parent to the child, the king to the serf, the boss to the worker. If human beings were meant to live in that kind of relationship with God, then humanity would have been kept in a perpetual state of irresponsible, childlike immaturity. Adam and Eve had to leave the Garden of Eden, not because they had disobeyed God’s rules, but because, when self-consciousness was born, they could no longer live in childlike dependency. Adam and Eve discovered, as every child ultimately must discover, that maturity requires that the child leave his or her parents’ home, just as every bird sooner or later must leave its nest and learn to fly on its own. To be forced out of the Garden of Eden was, therefore, not a punishment for sin, so much as it was a step into maturity.

I was seeing him different than when he first came in; I was seeing more to him than just big hands and red sideburns and a broken-nosed grin. I'd see him do things that didn't fit with his face or hands, things like painting a picture at OT with real paints on a blank paper with no lines or numbers anywhere on it to tell him where to paint, or like writing letters to somebody in a beautiful flowing hand. How could a man who looked like him paint pictures or write letters to people, or be upset and worried like I saw him once when he got a letter back? [...] He hadn't let what he looked like run his life one way or the other, any more than he'd let the Combine mill him into fitting where they wanted him to fit.

Gregory was in the walls, in the crawl space between the board floor of the cabin and the bitter ground. He was gone, but he was everywhere. He was on the small pantry shelf where canning was removed. The air of the cabin still held Gregory. He filled and expanded every dark corner, tight, to exploding. He was jammed between her legs so that no matter how she moved, he was inside of Agnes. She couldn't shake him from her vestments or burn him from the stove. He nested in the books, of course. She couldn't stand to touch their pages. He was in the sweet, fragrant wood Mary Kashpaw chopped, split, and piled. In the cloth of curtains, the clasp of doors, he waited. She turned the handle, let the light in, and he came, too, solid and good and alive.

Fireheart sprang forward and burst through the curtain of lichen. Tigerclaw and Bluestar were writhing on the floor of the den. Bluestar’s claws scored again and again across Tigerclaw’s shoulder, but the deputy’s greater weight kept her pinned down in the soft sand. Tigerclaw’s fangs were buried in her throat, and his powerful claws raked her back. “Traitor!” Fireheart yowled. He flung himself at Tigerclaw, slashing at his eyes. The deputy reared back, forced to release his grip on Bluestar’s throat. Fireheart felt his claws rip through the deputy’s ear, spraying blood into the air. Bluestar scrambled to the side of the den, looking half stunned. Fireheart could not tell how badly hurt she was. Pain lanced through him as Tigerclaw gashed his side with a blow from his powerful hindpaws. Fireheart’s paws skidded in the sand and he lost his balance, hitting the ground with Tigerclaw on top of him. The deputy’s amber eyes blazed into his. “Mousedung!” he hissed. “I’ll flay you, Fireheart. I’ve waited a long time for this.” Fireheart summoned every scrap of skill and strength he possessed. He knew Tigerclaw could kill him, but in spite of that he felt strangely free. The lies and the need for deceit were over. The secrets—Bluestar’s and Tigerclaw’s—were all out in the open. There was only the clean danger of battle. He aimed a blow at Tigerclaw’s throat, but the deputy swung his head to one side and Fireheart’s claws scraped harmlessly through thick tabby fur. But the blow had loosened Tigerclaw’s grip on him. Fireheart rolled away, narrowly avoiding a killing bite to his neck. “Kittypet!” Tigerclaw taunted, flexing his haunches to pounce again. “Come and find out how a real warrior fights.” He threw himself at Fireheart, but at the last moment Fireheart darted aside. As Tigerclaw tried to turn in the narrow den, his paws slipped on a splash of blood and he crashed awkwardly onto one side. At once Fireheart saw his chance. His claws sliced down to open a gash in Tigerclaw’s belly. Blood welled up, soaking into the deputy’s fur. He let out a high-pitched caterwaul. Fireheart pounced on him, raking claws across his belly again, and fastening his teeth into Tigerclaw’s neck. The deputy struggled vainly to free himself, his thrashing growing weaker as the blood flowed. Fireheart let go of his neck, planting one paw on Tigerclaw’s outstretched foreleg, and the other on his chest. “Bluestar!” he called. “Help me hold him down!” Bluestar was crouching behind him in her moss-lined nest. Blood trickled down her forehead, but that did not alarm Fireheart as much as the look in her eyes. They were a vague, cloudy blue, and she stared horror-struck in front of her as if she was witnessing the destruction

purer artist exists or has ever existed than a child freed to imagine. This scattering of sticks in the dust, that any adult might kick through without a moment’s thought, is in truth the bones of a vast world, clothed, fleshed, a fortress, a forest, a great wall against which terrible hordes surge and are thrown back by a handful of grim heroes. A nest for dragons, and these shiny smooth pebbles are their eggs, each one home to a furious, glorious future. No creation was ever raised as fulfilled, as brimming, as joyously triumphant, and all the machinations and manipulations of adults are the ghostly recollections of childhood and its wonders, the awkward mating to cogent function, reasonable purpose; and each façade has a tale to recount, a legend to behold in stylized propriety. Statues in alcoves fix sombre expressions, indifferent to every passer-by. Regimentation rules these creaking, stiff minds so settled in habit and fear. To

What is especially striking about the earth is the way in which it contains time capsules nested within time capsules, like a Russian doll. Individual biological cells (properly interpreted) are time capsules from which biologists read genetic time. Organs within the body are again time capsules, and contain traces of the history and morphogenesis of our bodies. The body itself is a time capsule. History is written in a face, which carries a date - the approximate date of our birth. We can all tell the rough age of a person from a glance at their face. Wherever we look, we find mutually consistent time capsules - in grains of sand, in ripe cherries, in books in libraries. This consistent meshing of stories even extends far from the Earth and into the outermost reaches of the universe. The abundances of the chemical elements and isotopes in the gas of stars and the waters of the oceans tell the story of the stars and a Big Bang that created the lightest elements. It all fits together so well.

Has anyone had a look at Merripen's shoulder?" Amelia asked, glancing at Win. "It's probably time for the dressing to be changed." "I'll do it," Win said at once. "And I'll take up a supper tray." "Beatrix will accompany you," Amelia advised. "I can manage the tray," Win protested. "It's not that... I meant it's not proper for you to be alone with Merripen in his room." Win looked surprised, and made a face. "I don't need Beatrix to come. It's only Merripen, after all." After Win left the dining hall, Poppy looked at Amelia. "Do you think that Win really doesn't know how he-" "I have no idea. And I've never dared to broach the subject, because I don't want to put ideas into her head." "I hope she doesn't know," Beatrix ventured. "It would be dreadfully sad if she did." Amelia and Poppy both glanced at their younger sister quizzically. "Do you know what we're talking about, Bea?" Amelia asked. "Yes, of course. Merripen's in love with her. I knew it a long time ago, from the way he washed her window." "Washed her window?" both older sisters asked at the same time. "Yes, when we lived in the cottage at Primrose Place. Win's room had a casement window that looked out onto the big maple tree- do you remember? After the scarlet fever, when Win couldn't get out of bed for the longest time and she was too weak to hold a book, she would just lie there and watch a birds' nest on one of the other tree limbs. She saw the baby swallows hatch and learn to fly. One day she complained that the window was so dirty, she could barely see through it, and it made the sky look so grayish. So from then on Merripen always kept the glass spotless. Sometimes he climbed a ladder to wash the outside, and you know how afraid of heights he is. You never saw him do that?" "No," Amelia said with difficulty, her eyes stinging. "I didn't know he did that." "Merripen said the sky should always be blue for her," Beatrix said. "And that was when I knew he... are you crying, Poppy?" Poppy used a napkin to dab at the corners of her eyes. "No, I just inh-haled some pepper." "So did I," Amelia said, blowing her nose.

But Isabel was like no one Nora had met before. She was beautiful, of course---the otherworldly clarity of her English skin!---and possessed of the sort of poise Nora could only dream about. Beyond that, she was magnetic. Try as Nora might, she couldn't resist her brother's new wife. First, there was her voice when she spoke, that crisp accent and authoritative diction that made Miss Perry (strictest in a long line of governesses) seem like a drover's wife by comparison; next, there was her laugh, which rose like bubbles in a glass of champagne. And then there were her stories. True tales of adventure and daring, rivaling anything Nora had read in her Girls' Crystal Annuals: during the Blitz, Isabel had handled secret papers in Whitehall and later worked in some sort of capacity that she wasn't able to speak of at length (at least not then and there). Even more excitingly, she was an orphan---a real one, just like a girl in a book, whose parents had died in tragic circumstances when she was only young, casting her out of the nest and into a childhood of boarding schools and midnight feasts and hockey sticks and daring japes. Nora couldn't think of anything more romantic.

Ceci est une idée à laquelle je ne saurais m’associer parce que je n’en vois pas la nécessité. Rien ne prouve qu’il en soit ainsi. Rien ne prouve que la civilisation, si compliquée et si intéressante qu’elle soit, ne soit pas à la merci d'un incident quelconque. Elles sont mortelles, les civilisations, elles peuvent mourir d’un siècle à l’autre, et il n’est pas dit que la civilisation européenne ne fasse pas comme les civilisations égyptienne, grecque ou romaine, qui ont disparu et qui ont été remplacées par des époques de barbarie et de sauvagerie. Peut-être en sommes-nous beaucoup plus près que nous ne pensons. C’est pourquoi au mot progrès je préfère le mot aventure, c’est-à-dire cette non-salvation, ce changement intime qui se produit, changement qui ne sait pas de lui-même à quoi il aboutit, qui ne sait pas lui-même où il va, s’il court à une catastrophe ou à une amélioration, ceci est en dehors de la question. Le sort même des humains n’est pas en question, pas plus que dans un rêve ce qui va se passer n’est en question. Il n’y a pas de but. Chaque instant est capable de conduire là où on ne savait pas aller.” Excerpt From: Paul Valéry. “Cours de poétique”. Apple Books. d’un incident quel

Croyez-moi : Ce n'est pas une doctrine, pas un enseignement que je vous donne. D'ou tirerais-je le droit de vous donner des leçons ? Je vous révèle le chemin de cet être humain, son chemin mais pas votre chemin. Mon chemin n'est pas votre chemin ; je ne peux donc pas vous instruire. le chemin est en nous, mais pas dans les dieux, ni dans les doctrines ni dans les lois. C'est en nous qu'est le chemin, la vérité et la vie. Malheur à ceux qui vivent selon des modèles ! La vie n'est pas avec eux. Si vous vivez selon un modèle, vous vivez la vie d'un modèle, mais qui vivra votre vie sinon vous-mêmes ? Donc vivez-vous vous-même. Les panneaux indicateurs sont tombés, des sentiers incertains se déroulent devant nous. Ne soyez pas avides d'avaler les fruits qui se trouvent dans le champ des autres. Ne savez-vous pas que vous êtes vous-mêmes le champ fertile qui porte tout ce qui vous est utile ? Mais qui le sait aujourd'hui ? Qui connaît le chemin qui mène aux champs éternellement fertiles de l'âme ? Vous cherchez le chemin par le biais d'éléments extérieurs ; vous lisez des livres et écoutez des avis : à quoi bon ? Il n'y a qu'un seul chemin et c'est votre chemin. Vous cherchez le chemin ? Je vous mets en garde contre mon chemin. Il peu être pour vous le mauvais chemin. Que chacun suive son propre chemin. (p. 147)

A bird does not need to take lessons in nest-building. Nor does it need to take courses in navigation. Yet birds do navigate thousands of miles, sometimes over open sea. They have no newspapers or TV to give them weather reports, no books written by explorer or pioneer birds to map out for them the warm areas of the earth. Nonetheless the bird “knows” when cold weather is imminent and the exact location of a warm climate even though it may be thousands of miles away. In attempting to explain such things, we usually say that animals have certain instincts that guide them. Analyze all such instincts and you will find they assist the animal to successfully cope with its environment. In short, animals have a Success Instinct. We often overlook the fact that man, too, has a Success Instinct, much more marvelous and much more complex than that of any animal. Our Creator did not shortchange man. On the other hand, man was especially blessed in this regard. Animals cannot select their goals. Their goals (self-preservation and procreation) are preset, so to speak. And their success mechanism is limited to these built-in goal-images, which we call “instincts.” Man, on the other hand, has something animals don’t: Creative Imagination. Thus man of all creatures is more than a creature, he is also a creator. With his imagination he can formulate a variety of goals. Man alone can direct his Success Mechanism by the use of imagination, or imaging ability.

Do you think that Win really doesn’t know how he—” “I have no idea. And I’ve never dared to broach the subject, because I don’t want to put ideas into her head.” “I hope she doesn’t know,” Beatrix ventured. “It would be dreadfully sad if she did.” Amelia and Poppy both glanced at their younger sister quizzically. “Do you know what we’re talking about, Bea?” Amelia asked. “Yes, of course. Merripen’s in love with her. I knew it a long time ago, from the way he washed her window.” “Washed her window?” both older sisters asked at the same time. “Yes, when we lived in the cottage at Primrose Place. Win’s room had a casement window that looked out onto the big maple tree—do you remember? After the scarlet fever, when Win couldn’t get out of bed for the longest time and she was too weak to hold a book, she would just lie there and watch a birds’ nest on one of the tree limbs. She saw the baby swallows hatch and learn to fly. One day she complained that the window was so dirty, she could barely see through it, and it made the sky look grayish. So from then on Merripen always kept the glass spotless. Sometimes he climbed a ladder to wash the outside, and you know how afraid of heights he is. You never saw him do that?” “No,” Amelia said with difficulty, her eyes stinging. “I didn’t know he did that.” “Merripen said the sky should always be blue for her,” Beatrix said. “And that was when I knew he … are you crying, Poppy?” Poppy used a napkin to dab at the corners of her eyes. “No. I just inh-haled some pepper.” “So did I,” Amelia said, blowing her nose.

True love is in despair and is enchanted over a glove lost or a handkerchief found, and eternity is required for its devotion and its hopes. It is composed both of the infinitely great and the infinitely little. If you are a stone, be adamant; if you are a plant, be the sensitive plant; if you are a man, be love. Free eBooks at Planet eBook.com 1579 Nothing suffices for love. We have happiness, we desire paradise; we possess paradise, we desire heaven. Oh ye who love each other, all this is contained in love. Understand how to find it there. Love has contemplation as well as heaven, and more than heaven, it has voluptuousness. ‘Does she still come to the Luxembourg?’ ‘No, sir.’ ‘This is the church where she attends mass, is it not?’ ‘She no longer comes here.’ ‘Does she still live in this house?’ ‘She has moved away.’ ‘Where has she gone to dwell?’ ‘She did not say.’ What a melancholy thing not to know the address of one’s soul! Love has its childishness, other passions have their pettinesses. Shame on the passions which belittle man! Honor to the one which makes a child of him! There is one strange thing, do you know it? I dwell in the night. There is a being who carried off my sky when she went away. Oh! would that we were lying side by side in the same grave, hand in hand, and from time to time, in the darkness, gently caressing a finger,—that would suffice for my eternity! Ye who suffer because ye love, love yet more. To die of love, is to live in it. Love. A sombre and starry transfiguration is mingled with this torture. There is ecstasy in agony. Oh joy of the birds! It is because they have nests that they sing. 1580 Les Miserables Love is a celestial respiration of the air of paradise. Deep hearts, sage minds, take life as God has made it; it is a long trial, an incomprehensible preparation for an unknown destiny. This destiny, the true one, begins for a man with the first step inside the tomb. Then something appears to him, and he begins to distinguish the definitive. The definitive, meditate upon that word. The living perceive the infinite; the definitive permits itself to be seen only by the dead. In the meanwhile, love and suffer, hope and contemplate. Woe, alas! to him who shall have loved only bodies, forms, appearances! Death will deprive him of all. Try to love souls, you will find them again. I encountered in the street, a very poor young man who was in love. His hat was old, his coat was worn, his elbows were in holes; water trickled through his shoes, and the stars through his soul. What a grand thing it is to be loved! What a far grander thing it is to love! The heart becomes heroic, by dint of passion. It is no longer composed of anything but what is pure; it no longer rests on anything that is not elevated and great. An unworthy thought can no more germinate in it, than a nettle on a glacier. The serene and lofty soul, inaccessible to vulgar passions and emotions, dominating the clouds and the shades of this world, its follies, its lies, its hatreds, its vanities, its miseries, inhabits the blue of heaven, and no longer feels anything but profound and subterranean shocks of destiny, as the crests of mountains feel the shocks of earthquake. If there did not exist some one who loved, the sun would become extinct.

Mrs. Barnstable took her to a beautiful room with windows overlooking the gardens. “This is yours,” the housekeeper said. “No one has occupied it before.” The bed was made of light blue upholstered panels, the bedclothes of white linen. There was a graceful lady’s writing desk in the corner, and a satin maple wardrobe with a looking glass set in the door. “Mr. Merripen personally selected the wallpaper,” Mrs. Barnstable said. “He nearly drove the interior architect mad with his insistence on seeing hundreds of samples until he found this pattern.” The wallpaper was white, with a delicate pattern of flowering branches. And at sparse intervals, there was the motif of a little robin perched on one of the twigs. Slowly Win went to one of the walls and touched one of the birds with her fingertips. Her vision blurred. During her long recuperation from the scarlet fever, when she had grown tired of holding a book in her hands and no one had been available to read to her, she had stared out the window at a robin’s nest in a nearby maple tree. She had watched the fledglings hatch from their blue eggs, their bodies pink and veined and fuzzy. She had watched their feathers grow in, and she had watched the mother robin working to fill their ravenous beaks. And Win had watched as, one by one, they had flown from the nest while she remained in bed. Merripen, despite his fear of heights, had often climbed a ladder to wash the second-floor window for her. He had wanted her view of the outside world to be clear. He had said the sky should always be blue for her. “You’re fond of birds, Miss Hathaway?” the housekeeper asked. Win nodded without looking around, afraid that her face was red with unexpressed emotion. “Robins especially,” she half-whispered.

I don’t know what it was about menopause, specifically, that caused me all of a sudden to become a gatherer of “found objects.” But now, wherever I went in this bleakly untamed and often inhospitable landscape in the wild western extremes of Ireland, I seemed to hear things calling out to me. I was rooting for something — I didn’t know what. For fragments of myself, perhaps; my life, my loves. For fragments which reflected something of myself back at me — whatever I might be becoming now, at this turbulent, shapeshifting time of my life. And all the fragments I seemed to need came from this new place, from the ancient, uncompromising earth around me: that land which I walked compulsively, day after day after day. I would come home from the woods reverently carrying strangely shaped sticks, from the lough with pebbles and water-bird feathers, from the beach with seashells and mermaid’s purses — as if I were reassembling myself from elements of the land itself. After the deep dissolutions of menopause, I was refashioning myself from those calcinated ashes; I was growing new bones. It’s something we all have to do at this time in our lives; somehow, with whatever tools are available to us, we have to begin to curate the vision of the elder we will become. It’s an act of bricolage. And so now I had become like the bright-eyed, cackling magpies which regularly ransacked our garden: a collector — though not of trinkets, but of clues. I was gathering them together in the safety of my new nest. The clues were there in the pieces; those clues are threaded through this book. Scattered in shadowy corners and brightly lit windows, these objects I’ve selected are so much more than random gatherings of whatever it was that I happened to come across in my wanderings. They’re so much more than mere clutter. They are active choices, carefully selected objects that mirror my sense of myself as a shapeshifting, storied creature. Because the clues to our re-memberings are in the stories, and the stories are always born from the land.

Quant à l’oeuvre, les problèmes qu’elle soulève sont plus difficiles encore. En apparence pourtant, quoi de plus simple ? Une somme de textes qui peuvent être dénotés par le signe d’un nom propre. Or cette dénotation (même si on laisse de côté les problèmes de l’attribution) n’est pas une fonction homogène : le nom d’un auteur dénote-t-il de la même façon un texte qu’il a lui-même publié sous son nom, un texte qu’il a présenté sous un pseudonyme, un autre qu’on aura retrouvé après sa mort à l’état d’ébauche, un autre encore qui n’est qu’un griffonnage, un carnet de notes, un « papier » ? La constitution d’une oeuvre complète ou d’un opus suppose un certain nombre de choix qu’il n’est pas facile de justifier ni même de formuler : suffit-il d’ajouter aux textes publiés par l’auteur ceux qu’il projetait de donner à l’impression, et qui ne sont restés inachevés quer par le fait de la mort ? Faut-il intégrer aussi tout ce qui est brouillon, fait de la mort ? Faut-il intégrer aussi tout ce qui est brouillon, premier dessein, corrections et ratures des livres ? Faut-il ajouter les esquisses abandonnées? Et quel status donner aux lettres, aux notes, aux conversations rapportées, aux propos transcrits par les auditeurs, bref à cet immense fourmillement de traces verbales qu’un individu laisse autour de lui au moment de mourir, et qui parlent dans un entrecroisement indéfini tant de langages différents ? En tout cas le nom « Mallarmé » ne se réfère pas de la même façon aux thèmes anglais, aux trauctions d’Edgar Poe, aux poèmes, ou aux réponses à des enquêtes ; de même, ce n’est pas le même rapport qui existe entre le nom de Nietzsche d’une part et d’autre par les autobiographies de jeunesse, les dissertations scolaires, les articles philologiques, Zarathoustra, Ecce Homo, les lettres, les dernières cartes postales signées par « Dionysos » ou « Kaiser Nietzsche », les innombrables carnets où s’enchevêtrent les notes de blanchisserie et les projets d’aphorismes. En fait, si on parle si volontiers et sans s’interroger davantage de l’« oeuvre » d’un auteur, c’est qu’on la suppose définie par une certaine fonction d’expression. On admet qu’il doit y avoir un niveau (aussi profond qu’il est nécessaire de l’imaginer) auquel l’oeuvre se révèle, en tous ses fragments, même les plus minuscules et les plus inessentiels, comme l’expression de la pensée, ou de l’expérience, ou de l’imagination, ou de l’inconscient de l’auteur, ou encore des déterminations historiques dans lesquelles il était pris. Mais on voit aussitôt qu’une pareille unité, loin d’être donné immédiatement, est constituée par une opération ; que cette opération est interprétative (puisqu’elle déchiffre, dans le texte, la transcription de quelque chose qu’il cache et qu’il manifeste à la fois); qu’enfin l’opération qui détermine l’opus, en son unité, et par conséquent l’oeuvre elle-même ne sera pas la même s’il s’agit de l’auteur du Théâtre et son double ou de l’auteur du Tractatus et donc, qu’ici et là ce n’est pas dans le même sens qu’on parlera d’une « oeuvre ». L’oeuvre ne peut être considérée ni comme unité immédiate, ni comme une unité certaine, ni comme une unité homogène.