Old Monuments Quotes

All depression has its roots in self-pity, and all self-pity is rooted in people taking themselves too seriously.” At the time Switters had disputed her assertion. Even at seventeen, he was aware that depression could have chemical causes. “The key word here is roots,” Maestra had countered. “The roots of depression. For most people, self-awareness and self-pity blossom simultaneously in early adolescence. It's about that time that we start viewing the world as something other than a whoop-de-doo playground, we start to experience personally how threatening it can be, how cruel and unjust. At the very moment when we become, for the first time, both introspective and socially conscientious, we receive the bad news that the world, by and large, doesn't give a rat's ass. Even an old tomato like me can recall how painful, scary, and disillusioning that realization was. So, there's a tendency, then, to slip into rage and self-pity, which if indulged, can fester into bouts of depression.” “Yeah but Maestra—” “Don't interrupt. Now, unless someone stronger and wiser—a friend, a parent, a novelist, filmmaker, teacher, or musician—can josh us out of it, can elevate us and show us how petty and pompous and monumentally useless it is to take ourselves so seriously, then depression can become a habit, which, in tern, can produce a neurological imprint. Are you with me? Gradually, our brain chemistry becomes conditioned to react to negative stimuli in a particular, predictable way. One thing'll go wrong and it'll automatically switch on its blender and mix us that black cocktail, the ol’ doomsday daiquiri, and before we know it, we’re soused to the gills from the inside out. Once depression has become electrochemically integrated, it can be extremely difficult to philosophically or psychologically override it; by then it's playing by physical rules, a whole different ball game. That's why, Switters my dearest, every time you've shown signs of feeling sorry for yourself, I've played my blues records really loud or read to you from The Horse’s Mouth. And that’s why when you’ve exhibited the slightest tendency toward self-importance, I’ve reminded you that you and me— you and I: excuse me—may be every bit as important as the President or the pope or the biggest prime-time icon in Hollywood, but none of us is much more than a pimple on the ass-end of creation, so let’s not get carried away with ourselves. Preventive medicine, boy. It’s preventive medicine.” “But what about self-esteem?” “Heh! Self-esteem is for sissies. Accept that you’re a pimple and try to keep a lively sense of humor about it. That way lies grace—and maybe even glory.

Until we consider animal life to be worthy of the consideration and reverence we bestow upon old books and pictures and historic monuments, there will always be the animal refugee living a precarious life on the edge of extermination, dependent for existence on the charity of a few human beings.

The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall, nations perish, civilizations grow old and die out, and after an era new races build others. But in the world of books are volumes that have seen this happen again and again and yet live on, still young, still as fresh as the day they were written, still telling men's hearts of the heart of men centuries dead.

If a man knew enough he could write a whole book about the juniper tree. Not juniper trees in general but that one particular juniper tree which grows from a ledge of naked sandstone near the old entrance to Arches National Monument.

"The wanderer in Manhattan must go forth with a certain innocence, because New York is best seen with innocent eyes. It doesn't matter if you are younger or old. Reading our rich history makes the experience more layered, but it is not a substitute for walking the streets themselves. For old-timer or newcomer, it is essential to absorb the city as it is now in order to shape your own nostalgias. That's why I always urge the newcomer to surrender to the city's magic. Forget the irritations and the occasional rudeness; they bother New Yorkers too. Instead, go down to the North River and the benches that run along the west side of Battery Park City. Watch the tides or the blocks of ice in winter; they have existed since the time when the island was empty of man. Gaze at the boats. Look across the water at the Statue of Liberty or Ellis Island, the place to which so many of the New York tribe came in order to truly live. Learn the tale of our tribe, because it's your tribe too, no matter where you were born. Listen to its music and its legends. Gaze at its ruins and monuments. Walk its sidewalks and run fingers upon the stone and bricks and steel of our right-angled streets. Breathe the air of the river breeze."

Come let us mock at the great That had such burdens on the mind And toiled so hard and late To leave some monument behind, Nor thought of the levelling wind. Come let us mock at the wise; With all those calendars whereon They fixed old aching eyes, They never saw how seasons run, And now but gape at the sun. Come let us mock at the good That fancied goodness might be gay, And sick of solitude Might proclaim a holiday: Wind shrieked -- and where are they? Mock mockers after that That would not lift a hand maybe To help good, wise or great To bar that foul storm out, for we Traffic in mockery.

There's a power struggle going on across Europe these days. A few cities are competing against each other to see who shall emerge as the great 21st century European metropolis. Will it be London? Paris? Berlin? Zurich? Maybe Brussels, center of the young union? They all strive to outdo one another culturally, architecturally, politically, fiscally. But Rome, it should be said, has not bothered to join the race for status. Rome doesn't compete. Rome just watches all the fussing and striving, completely unfazed. I am inspired by the regal self-assurance of this city, so grounded and rounded, so amused and monumental, knowing she is held securely in the palm of history. I would like to be like Rome when I am an old lady.

Three years in London had not changed Richard, although it had changed the way he perceived the city. Richard had originally imagined London as a gray city, even a black city, from pictures he had seen, and he was surprised to find it filled with color. It was a city of red brick and white stone, red buses and large black taxis, bright red mailboxes and green grassy parks and cemeteries. It was a city in which the very old and the awkwardly new jostled each other, not uncomfortably, but without respect; a city of shops and offices and restaurants and homes, of parks and churches, of ignored monuments and remarkably unpalatial palaces; a city of hundreds of districts with strange names - Crouch End, Chalk Farm, Earl's Court, Marble Arch - and oddly distinct identities; a noisy, dirty, cheerful, troubled city, which fed on tourists, needed them as it despised them, in which the average speed of transportation through the city had not increased in three hundred years, following five hundred years of fitful road-widening and unskillful compromises between the needs of traffic, whether horse-drawn, or, more recently, motorized, and the need of pedestrians; a city inhabited by and teeming with people of every color and manner and kind.

Whoever is born in New York is ill-equipped to deal with any other city: all other cities seem, at best, a mistake, and, at worst, a fraud. No other city is so spitefully incoherent. Whereas other cities flaunt there history - their presumed glory - in vividly placed monuments, squares, parks, plaques, and boulevards, such history as New York has been unable entirely to obliterate is to be found, mainly, in the backwaters of Wall Street, in the goat tracks of Old and West Broadway, in and around Washington Square, and, for the relentless searcher, in grimly inaccessible regions of The Bronx.

A block or two west of the new City of Man in Turtle Bay there is an old willow tree that presides over an interior garden. It is a battered tree, long suffering and much climbed, held together by strands of wire but beloved of those who know it. In a way it symbolizes the city: life under difficulties, growth against odds, sap-rise in the midst of concrete, and the steady reaching for the sun. Whenever I look at it nowadays, and feel the cold shadow of the planes, I think: "This must be saved, this particular thing, this very tree." If it were to go, all would go -- this city, this mischevious and marvelous monument which not to look upon would be like death.

I landed in London on a wintry autumn evening. It was dark and raining, and I saw more fog and mud in a minute than I had seen in a year. I walked from the Custom House to the Monument before I found a coach; and although the very house-fronts, looking on the swollen gutters, were like old friends to me, I could not but admit that they were very dingy friends.

Stone-cutters fighting time with marble, you fore defeated Challengers of oblivion Eat cynical earnings, knowing rock splits, records fall down, The square-limbed Roman letters Scale in the thaws, wear in the rain. The poet as well Builds his monument mockingly; For man will be blotted out, the blithe earth die, the brave sun Die blind and blacken to the heart: Yet stones have stood for a thousand years, and pained thoughts found The honey of peace in old poems.

The world of books is the most remarkable creation of man; nothing else that he builds ever lasts. Monuments fall; nations perish; civilizations grow old and die out. After an era of darkness, new races build others; but in the world of books are volumes that live on still as young and fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead. — Clarence Day

My mom believed that you make your own luck. Over the stove she had hung these old, maroon painted letters that spell out, “MANIFEST.” The idea being if you thought and dreamed about the way you wanted your life to be -- if you just envisioned it long enough, it would come into being. But as hard as I had manifested Astrid Heyman with her hand in mine, her blue eyes gazing into mine, her lips whispering something wild and funny and outrageous in my ear, she had remained totally unaware of my existence. Truly, to even dream of dreaming about Astrid, for a guy like me, in my relatively low position on the social ladder of Cheyenne Mountain High, was idiotic. And with her a senior and me a junior? Forget it. Astrid was just lit up with beauty: shining blonde ringlets, June sky blue eyes, slightly furrowed brow, always biting back a smile, champion diver on the swim team. Olympic level. Hell, Astrid was Olympic level in every possible way.

Enter the players. There were seven of us, seven bright young things with wide precious futures ahead of us, though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum. The castle library was an airy octagonal room, walled with bookshelves, crowed with sumptuous old furniture, and kept drowsily warm by a monumental fireplace that burned almost constantly, regardless of the temperature outside. The clock on the mantel struck twelve, and we stirred, one by one, like seven statues coming to life.

What happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new. Whoever has approved this idea of order, of the form of European, of English literature will not find it preposterous that the past should be altered by the present as much as the present is directed by the past.

When you lose a friend [in battle] you have an overpowering desire to go back home and yell in everybody's ear, "This guy was killed fighting for you. Don't forget him--ever. Keep him in your mind when you wake up in the morning and when you go to bed at night. Don't think of him as the statistic which changes 38,788 casualties to 38,789. Think of him as a guy who wanted to live every bit as much as you do. Don't let him be just one of 'Our Brave Boys' from the old home town, to whom a marble monument is erected in the city park, and a civic-minded lady calls the newspaper ten years later and wants to know why that 'unsightly stone' isn't removed.

That is no country for old men. The young In one another's arms, birds in the trees – Those dying generations – at their song, The salmon‐falls, the mackerel‐crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect.

Thump Milton loomed over Ree, a fabled man, his face a monument of Ozark stone, with juts and angles and cold shaded parts the sun never touched.

I wonder where the dreams go that I don't remember. I do not know what to do with my hands when they have nothing to do. Even though it's not for me, I turn around when someone whistles in the street. Dangerous animals do not scare me. I have seen lightening. I wish they had slides for grown-ups. I have read more volumes one than volumes two. The date on my birth certificate is wrong. I am not sure I have any influence. I talk to my things when they're sad. I don't know why I write. I prefer a ruin to a monument. I am calm during reunions. I have nothing against New Year's Eve. Fifteen years old is the middle of my life, regardless of when I die. I believe there is an afterlife, but not an afterdeath. I do not ask "do you love me". Only once can I say "I'm dying" without telling a lie. The best day of my life may already be behind me.

On 11 September 2001, a bunch of Saudis killed almost 3000 US civilians, which led to the construction of a monument in New York City. My question is: Are we also going to build monuments in Kabul, Baghdad, and Tripoli to commemorate the thousands of civilians the US has killed since then? By the way, I should mention that neither Kabul, Baghdad, nor Tripoli is in Saudi Arabia; supposedly, the Saudis are our “friends”, and if you'll forgive the old cliché, with friends like these, who needs enemies?

What are the hopes of man? Old Egypt's King Cheops erected the first pyramid And largest, thinking it was just the thing To keep his memory whole, and mummy hid; But somebody or other rummaging, Burglariously broke his coffin's lid: Let not a monument give you or me hopes, Since not a pinch of dust remains of Cheops.

A major existential breakthrough was averted Friday when, moments before he had a realization of monumental personal significance, 29-year-old local resident Darrell Gatsas instead turned to God. "He was so, so close to discovering something truly fundamental about himself and his place in the universe, but nope—he went with God," close friend Peter Rankin, 27, said. "For a second there it seemed like he was going to seriously consider the cause-and-effect relationship of his own actions and elevate himself to a new level of compassion and understanding, but then he suddenly changed course and asked God to swoop in and fix everything." Reached for comment, God chuckled to reporters that Gatsas is, indeed, a real piece of work.

Marvelously clear-fretted in the unsmoked air, the Abbey rose, silver-grey. It stood detached by the serenity of age from the ephemeral growths around it. It was solid on a foundation of centuries, destined, perhaps, for centuries yet to preserve within it the monuments to those whose work was now all destroyed. I did not loiter there. In years to come I expect some will go o look at the old Abbey with romantic melancholy. But romance of that kind is an alloy of tragedy with retrospect. I was too close.

The city was a real city, shifty and sexual. I was lightly jostled by small herds of flushed young sailors looking for action on Forty-Second Street, with it rows of x-rated movie houses, brassy women, glittering souvenir shops, and hot-dog vendors. I wandered through Kino parlors and peered through the windows of the magnificent sprawling Grant’s Raw Bar filled with men in black coats scooping up piles of fresh oysters. The skyscrapers were beautiful. They did not seem like mere corporate shells. They were monuments to the arrogant yet philanthropic spirit of America. The character of each quadrant was invigorating and one felt the flux of its history. The old world and the emerging one served up in the brick and mortar of the artisan and the architects. I walked for hours from park to park. In Washington Square, one could still feel the characters of Henry James and the presence of the author himself … This open atmosphere was something I had not experienced, simple freedom that did not seem oppressive to anyone.

Another factor that seems to me to be equally important is the great myth and rationale of 'the modern,' that it places dynamite at the foot of old error and levels its shrines and monuments. Contempt for the past surely accounts for a consistent failure to consult it.

It was a city in which the very old and the awkwardly new jostled each other, not uncomfortably, but without respect; a city of shops and offices and restaurants and homes, of parks and churches, of ignored monuments and remarkably unpalatial palaces; a city of hundreds of districts with strange names—Crouch End, Chalk Farm, Earl’s Court, Marble Arch—and oddly distinct identities; a noisy, dirty, cheerful, troubled city, which fed on tourists, needed them as it despised them, in which the average speed of transportation through the city had not increased in three hundred years, following five hundred years of fitful road-widening and unskillful compromises between the needs of traffic, whether horse-drawn, or, more recently, motorized, and the needs of pedestrians; a city inhabited by and teeming with people of every color and manner and kind.

The modern mind is forced towards the future by a certain sense of fatigue, not unmixed with terror, with which it regards the past. It is propelled towards the coming time; it is, in the exact words of the popular phrase, knocked into the middle of next week. And the goad which drives it on thus eagerly is not an affectation for futurity Futurity does not exist, because it is still future. Rather it is a fear of the past; a fear not merely of the evil in the past, but of the good in the past also. The brain breaks down under the unbearable virtue of mankind. There have been so many flaming faiths that we cannot hold; so many harsh heroisms that we cannot imitate; so many great efforts of monumental building or of military glory which seem to us at once sublime and pathetic. The future is a refuge from the fierce competition of our forefathers. The older generation, not the younger, is knocking at our door. It is agreeable to escape, as Henley said, into the Street of By-and-Bye, where stands the Hostelry of Never. It is pleasant to play with children, especially unborn children. The future is a blank wall on which every man can write his own name as large as he likes; the past I find already covered with illegible scribbles, such as Plato, Isaiah, Shakespeare, Michael Angelo, Napoleon. I can make the future as narrow as myself; the past is obliged to be as broad and turbulent as humanity. And the upshot of this modern attitude is really this: that men invent new ideals because they dare not attempt old ideals. They look forward with enthusiasm, because they are afraid to look back.

The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall, nations perish, civilizations grow old and die out, and after an era of darkness new races build others. But in the world of books are volumes that have seen this happen again and again and yet live on, still young, still as fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead.

Anyway, Em, I am sure you are happily ensconced in your native habitat, that dreary monument to mortal rumination that is the library, no doubt thinking of me hardly at all. Well, why would you give a thought to romance or the faerie kingdom that now belongs to you as much as to me when you have a limitless supply of dusty old tomes to mutter and scowl at? I see now that my downfall as a suitor lies in my ability to offer you only a castle, great quantities of faerie silver, and various enchantment to dazzle and provoke you, instead of the full bound collection of Dryadological Fieldnotes.

When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old manservant— a combined gardener and cook— had seen in at least ten years.

We remember the old world as it had been for a thousand years, so beautiful and diverse, and which, in only thirty years, has crumbled away. When we were young every country still had its own architecture and customs and food. Can you ever forget the first sight of Italy? Those ochre houses, all different, each with such character, with their trompe l'oeil paintings on the stucco? Queer and fascinating and strange, even to a Provencal like me? Now the dreariness! The suburbs of every town uniform all over the world, while perhaps in the very centre a few old monuments sadly survive as though in a glass case.

You must know, my loved one, that there are beings in the elements which almost appear like mortals, and which rarely allow themselves to become visible to your race. Wonderful salamanders glitter and sport in the flames; lean and malicious gnomes dwell deep within the earth; spirits, belonging to the air, wander through the forests; and a vast family of water spirits live in the lakes and streams and brooks. In resounding domes of crystal, through which the sky looks in with its sun and stars, these latter spirits find their beautiful abode; lofty trees of coral with blue and crimson fruits gleam in their gardens; they wander over the pure sand of the sea, and among lovely variegated shells, and amid all exquisite treasures of the old world, which the present is no longer worthy to enjoy; all these the floods have covered with their secret veils of silver, and the noble monuments sparkle below, stately and solemn, and bedewed by the loving waters which allure from them many a beautiful moss-flower and entwining cluster of sea grass. Those, however, who dwell there, are very fair and lovely to behold, and for the most part, are more beautiful than human beings. Many a fisherman has been so fortunate as to surprise some tender mermaid, as she rose above the waters and sang. He would then tell afar of her beauty, and such wonderful beings have been given the name of Undines. You, however, are now actually beholding an Undine.

In the autumn of 1946 the leaves were falling in Germany for the third time since Churchill’s famous speech about the falling of leaves. It was a gloomy season with rain, cold – and hunger, especially in the Ruhr and generally throughout the rest of the old Third Reich. All autumn, trains arrived in the Western Zones with refugees from the Eastern Zone. Ragged, starving and unwelcome, they crowded in dark, stinking station-bunkers or in the giant windowless bunkers that look like rectangular gasometers, looming like huge monuments to defeat in Germany’s collapsed cities. The silence and passive submission of these apparently insignificant people gave a sense of dark bitterness to that German autumn. They became significant just because they came and never stopped coming and because they came in such numbers. They became significant perhaps not in spite of their silence but because of it, for nothing can be expressed with such a charge of menace as that which is not expressed.

So I dream nightly of an embarcation, captains, captains, iron passageways, cabin lights, Brooklyn across the waters, the great dull boat, visitors, farewells, the blurred vast sea-- one trip a lifetime's loss or gain : as Europe is my own imagination --many shall see her, many shall not-- though it's only the old familiar world and not some abstract mystical dream. And in a moment of previsioning sleep I see that continent in rain, black streets, old night, a fading monument . . . And a long journey unaccomplished yet, on antique seas rolling in gray barren dunes under the world’s waste of light toward ports of childish geography the rusty ship will harbor in . . .

Make your monuments [worthy] of the god, This keeps alive their maker’s name,..

It was now autumn, and I made up my mind to make, before winter set in, an excursion across Normandy, a country with which I was not acquainted. It must be borne in mind that I began with Rouen, and for a week I wandered about enthusiastic with admiration, in that picturesque town of the Middle Ages, in that veritable museum of extraordinary Gothic monuments. Well, one afternoon, somewhere about four o'clock, as I happened to be passing down an out-of-the-way by-street, in the middle of which flowed a deep river, black as ink, named the Eau de Robec, my attention wholly directed to examining the bizarre and antique physiognomy of the houses, was all of a sudden attracted by the sight of a series of shops of furniture brokers, one after the other, from door to door along the street. Ah! these second-hand brokers had well chosen their locality, these sordid old traffickers of bric-a-brac, in this fantastic alley leading up from stream of that sinister dark water, under the steep pointed overhanging gables of tiled roofs and projecting shingle eaves, where the weathercocks of the past still creaked overhead. ("Who Knows?")

putting adroitly provocative questions to casual witnesses, bribing servants, listening at doors, seemed to him now to be precisely on a level with the deciphering of manuscripts, the weighing of evidence, the interpretation of old monuments—so many different methods of scientific investigation with a genuine intellectual value and legitimately employable in the search for truth.

Honorius Hatchard had been old Miss Hatchard's great-uncle; though she would undoubtedly have reversed the phrase, and put forward, as her only claim to distinction, the fact that she was his great-niece. For Honorius Hatchard, in the early years of the nineteenth century, had enjoyed a modest celebrity. As the marble tablet in the interior of the library informed its infrequent visitors, he had possessed marked literary gifts, written a series of papers called "The Recluse of Eagle Range," enjoyed the acquaintance of Washington Irving and Fitz-Greene Halleck, and been cut off in his flower by a fever contracted in Italy. Such had been the sole link between North Dormer and literature, a link piously commemorated by the erection of the monument where Charity Royall, every Tuesday and Thursday afternoon, sat at her desk under a freckled steel engraving of the deceased author, and wondered if he felt any deader in his grave than she did in his library.

I had recently read to my dismay that they have started hunting moose again in New England. Goodness knows why anyone would want to shoot an animal as harmless and retiring as the moose, but thousands of people do—so many, in fact, that states now hold lotteries to decide who gets a permit. Maine in 1996 received 82,000 applications for just 1,500 permits. Over 12,000 outof-staters happily parted with a nonrefundable $20 just to be allowed to take part in the draw. Hunters will tell you that a moose is a wily and ferocious forest creature. Nonsense. A moose is a cow drawn by a three-year-old. That’s all there is to it. Without doubt, the moose is the most improbable, endearingly hopeless creature ever to live in the wilds. Every bit of it—its spindly legs, its chronically puzzled expression, its comical oven-mitt antlers—looks like some droll evolutionary joke. It is wondrously ungainly: it runs as if its legs have never been introduced to each other. Above all, what distinguishes the moose is its almost boundless lack of intelligence. If you are driving down a highway and a moose steps from the woods ahead of you, he will stare at you for a long minute (moose are notoriously shortsighted), then abruptly try to run away from you, legs flailing in eight directions at once. Never mind that there are several thousand square miles of forest on either side of the highway. The moose does not think of this. Clueless as to what exactly is going on, he runs halfway to New Brunswick before his peculiar gait inadvertently steers him back into the woods, where he immediately stops and takes on a startled expression that says, “Hey—woods. Now how the heck did I get here?” Moose are so monumentally muddle-headed, in fact, that when they hear a car or truck approaching they will often bolt out of the woods and onto the highway in the curious hope that this will bring them to safety. Amazingly, given the moose’s lack of cunning and peculiarly-blunted survival instincts, it is one of the longest-surviving creatures in North America. Mastodons, saber-toothed tigers, wolves, caribou, wild horses, and even camels all once thrived in eastern North America alongside the moose but gradually stumbled into extinction, while the moose just plodded on. It hasn’t always been so. At the turn of this century, it was estimated that there were no more than a dozen moose in New Hampshire and probably none at all in Vermont. Today New Hampshire has an estimated 5,000 moose, Vermont 1,000, and Maine anywhere up to 30,000. It is because of these robust and growing numbers that hunting has been reintroduced as a way of keeping them from getting out of hand. There are, however, two problems with this that I can think of. First, the numbers are really just guesses. Moose clearly don’t line up for censuses. Some naturalists think the population may have been overstated by as much as 20 percent, which means that the moose aren’t being so much culled as slaughtered. No less pertinent is that there is just something deeply and unquestionably wrong about killing an animal that is so sweetly and dopily unassuming as a moose. I could have slain this one with a slingshot, with a rock or stick—with a folded newspaper, I’d almost bet—and all it wanted was a drink of water. You might as well hunt cows.

Delhi. The ruins of an old city, markets, monuments, broken mansions, the zigzag of roads, the still sad times of music past. And rising up from it, her mother, wind in her hair, laughing like a witch.

In the common room of Rivington One, Mr Braddock was staring at Dan with that look of monumental but slightly puzzled irritation which only the very old and borderline senile can bring off successfully.

George Washington is the quintessential American public ancestor. Americans worship him before an obelisk in Washington, a statue in Baltimore, a square in New York, an engraving on the dollar, and Stuart prints hanging from coast to coast. (Washington couldn't have known that the obelisk to be dedicated in memory of him, on February 21, 1885, would be the world's largest replica of a 3,500-year-old monument to the Egyptian sun god.)

If the Bible is not the Word of God and inspired, the whole of Christendom for 1800 years has been under an immense delusion - half the human race has been cheated and deceived, and churches are monuments of folly. If the Bible is the Word of God and inspired, all who refuse to believe it are in fearful danger; they are living on the brink of eternal misery. No man, in his sober senses, can fail to see that the whole subject demands most serious attention.

Ultimately, the roast turkey must be regarded as a monument to Boomer's love. Look at it now, plump and glossy, floating across Idaho as if it were a mammoth, mutated seed pod. Hear how it backfires as it passes the silver mines, perhaps in tribute to the origin of the knives and forks of splendid sterling that a roast turkey and a roast turkey alone possesses the charisma to draw forth into festivity from dark cupboards. See how it glides through the potato fields, familiarly at home among potatoes but with an air of expectation, as if waiting for the flood of gravy. The roast turkey carries with it, in its chubby hold, a sizable portion of our primitive and pagan luggage. Primitive and pagan? Us? We of the laser, we of the microchip, we of the Union Theological Seminary and Time magazine? Of course. At least twice a year, do not millions upon millions of us cybernetic Christians and fax machine Jews participate in a ritual, a highly stylized ceremony that takes place around a large dead bird? And is not this animal sacrificed, as in days of yore, to catch the attention of a divine spirit, to show gratitude for blessings bestowed, and to petition for blessings coveted? The turkey, slain, slowly cooked over our gas or electric fires, is the central figure at our holy feast. It is the totem animal that brings our tribe together. And because it is an awkward, intractable creature, the serving of it establishes and reinforces the tribal hierarchy. There are but two legs, two wings, a certain amount of white meat, a given quantity of dark. Who gets which piece; who, in fact, slices the bird and distributes its limbs and organs, underscores quite emphatically the rank of each member in the gathering. Consider that the legs of this bird are called 'drumsticks,' after the ritual objects employed to extract the music from the most aboriginal and sacred of instruments. Our ancestors, kept their drums in public, but the sticks, being more actively magical, usually were stored in places known only to the shaman, the medicine man, the high priest, of the Wise Old Woman. The wing of the fowl gives symbolic flight to the soul, but with the drumstick is evoked the best of the pulse of the heart of the universe. Few of us nowadays participate in the actual hunting and killing of the turkey, but almost all of us watch, frequently with deep emotion, the reenactment of those events. We watch it on TV sets immediately before the communal meal. For what are footballs if not metaphorical turkeys, flying up and down a meadow? And what is a touchdown if not a kill, achieved by one or the other of two opposing tribes? To our applause, great young hungers from Alabama or Notre Dame slay the bird. Then, the Wise Old Woman, in the guise of Grandma, calls us to the table, where we, pretending to be no longer primitive, systematically rip the bird asunder. Was Boomer Petaway aware of the totemic implications when, to impress his beloved, he fabricated an outsize Thanksgiving centerpiece? No, not consciously. If and when the last veil dropped, he might comprehend what he had wrought. For the present, however, he was as ignorant as Can o' Beans, Spoon, and Dirty Sock were, before Painted Stick and Conch Shell drew their attention to similar affairs. Nevertheless, it was Boomer who piloted the gobble-stilled butterball across Idaho, who negotiated it through the natural carving knives of the Sawtooth Mountains, who once or twice parked it in wilderness rest stops, causing adjacent flora to assume the appearance of parsley.

Luce didn’t wait for Daniel to lean forward and kiss her. Instead, she pressed her lips to his, relishing his moan of surprised pleasure, wanting to cleanse him of any pain he’d ever felt at losing her. Kissing Daniel was somewhere between exhilaratingly new and unmistakably familiar, like a childhood memory that felt dreamlike until photographic evidence was found in an old box in the attic. Luce felt as if a hangar full of monumental photographs had been discovered, and all those buried moments had been released from their captivity into the recesses of her soul. She was kissing him now, but strangely she was kissing him then. She could almost touch the history of their love, taste its essence on her tongue. Her lips traced Daniel’s just now, but also in another kiss they’d shared, an older kiss, a kiss like this one, with her mouth just there and his arms around her waist like that. He slipped his tongue against her teeth, and that recalled a handful of other kisses, too, every one of them intoxicating. When he passed his hand across her back, she felt a hundred shivers like this one. And when her eyes fluttered open and shut, the sight of him through her tangled lashed seemed a thousand kisses deep.

The two of them stood there with their necks forward at almost the same angle and their shoulders curved in almost exactly the same way and their hands trembling identically in their pockets. Mr. Head looked like an ancient child and Nelson like a miniature old man. They stood gazing at the artificial Negro as if they were faced with some great mystery, some monument to another’s victory that brought them together in their common defeat. They could both feel it dissolving their differences like an action of mercy.

The Tower is not a sacred monument, and no taboo can forbid a commonplace life to develop there, but there can be no question, nonetheless, of a trivial phenomenon here; the installation of a restaurant on the Tower, for instance ... The Eiffel Tower is a comfortable object, and moreover, it is in this that it its an object wither very old (analogous, for instance, to the Circus) or very modern (analogous to certain American institutions such as the drive-in movie, in which one can simultaneously enjoy the film, the car, the food, and the freshness of the night air). Further, by affording its visitor a whole polyphony of pleasures, from technological wonder to haute cuisine, including the panorama, the Tower ultimately reunites with the essential function of all major human sites: autarchy; the Tower can live on itself: one can dream there, eat there, observe there, understand there, marvel there, shop there, as on an ocean liner (another mythic object that sets children dreaming), one can feel oneself cut off from the world and yet the owner of a world.

Late that afternoon they rolled into Larchmont, an old town built around a main square containing the courthouse and a Civil War monument. Stores lined the edges of the square, and the boys soon spotted the building which housed the Record’s offices, which were on the second floor.

Memories of the wrath of the League and the clashes of the Fronde had favored the establishment of absolute monarchy; the governments of Louis XIV's despotism, when that great prince went to relax among his ancestors in Saint-Denis, made the yearning for freedom more bitter. The old monarchy had lasted six and a half centuries with its feudal and aristocratic liberties. How long had the state formed by Louis XIV lasted? One hundred and forty years. After that monarch's tomb, there were only two monuments of monarchy: the pillow of Louis XV's debauchery and Louis XVI's executioner's block.

The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall; nations perish; civilizations grow old and die out; and, after an era of darkness, new races build others. But in the world of books are volumes that have seen this happen again and again, and yet live on, still young, still as fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead. And even the books do not last that long, penetrate their own times at last, sailing farther than Ulysses even dreamed of, like ships on the seas. It is the author’s part to call into being their cargoes and passengers, - living thoughts and rich bales of study and jeweled ideas. And as for the publishers, it is they who build the fleet, plan the voyage, and sail on, facing wreck, till they find every possible harbor that will value their burden.

London? Paris? Berlin? Zurich? Maybe Brussels, center of the young union? They all strive to outdo one another culturally, architecturally, politically, fiscally. But Rome, it should be said, has not bothered to join the race for status. Rome doesn't compete. Rome just watches all the fussing and striving, completely unfazed, exuding an air like: 'Hey- do whatever you want, but I'm still Rome. I am inspired by the regal self-assurance of this town, so grounded and rounded, so amused and monumental, knowing that she is held securely in the palm of history. I would like to be Rome when I am an old lady.

Arrayed against them as hard-core troops: an elite! the Freud-ridden embers of Marxism, good old American anxiety strata—the urban middle-class with their proliferated monumental adenoidal resentments, their secret slavish love for the oncoming hegemony of the computer and the suburb, yes, they and their children, by the sheer ironies, the sheer ineptitude, the kinks of history, were now being compressed into more and more militant stands, their resistance to the war some hopeless melange, somehow firmed, of Pacifism and closet Communism. And their children—on a freak-out from the suburbs to a love-in on the Pentagon wall.

History is a living entity. Not just because of its survivors, and the stories they have to tell, but because of its enduring power to hurt and to heal, to create even as it destroys, to transform familiar old heroes and monuments into dust even as it raises fresh new icons from the ashes of the lost and the forgotten

She was leaving? I couldn’t believe it. But then I never can. I suddenly thought of Sam clicking the Lego tower into every corner. My old feeling of stunned abandonment (or perhaps at this point it was a monument to abandonment, a tower) fit any loss, regardless of size. Kris didn’t want to talk about it, but other people did; Arkanda did. I could have this conversation again and again if I wanted, for the rest of my life. I get it, Sam. There are corners everywhere. “I guess it’s late, isn’t it?” I said, looking at my phone. Almost midnight. “Nah, not for me. I’m headed to the studio!” She clapped her hands together. “I don’t use clocks or calendars. Every time is now; every day is Tuesday.

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

There is no fear that modern works of real value will look pale and worthless beside the monuments of the past. That which is contributed to the general store of human culture often fulfills a necessary role, in order to keep the memory of old achievements alive, because this memory alone is the standard whereby our own works are properly appreciated.

It’s no one’s fault really,” he continued. “A big city cannot afford to have its attention distracted from the important job of being a big city by such a tiny, unimportant item as your happiness or mine.” This came out of him easily, assuredly, and I was suddenly interested. On closer inspection there was something aesthetic and scholarly about him, something faintly professorial. He knew I was with him, listening, and his grey eyes were kind with offered friendliness. He continued: “Those tall buildings there are more than monuments to the industry, thought and effort which have made this a great city; they also occasionally serve as springboards to eternity for misfits who cannot cope with the city and their own loneliness in it.” He paused and said something about one of the ducks which was quite unintelligible to me. “A great city is a battlefield,” he continued. “You need to be a fighter to live in it, not exist, mark you, live. Anybody can exist, dragging his soul around behind him like a worn-out coat; but living is different. It can be hard, but it can also be fun; there’s so much going on all the time that’s new and exciting.” I could not, nor wished to, ignore his pleasant voice, but I was in no mood for his philosophising. “If you were a negro you’d find that even existing would provide more excitement than you’d care for.” He looked at me and suddenly laughed; a laugh abandoned and gay, a laugh rich and young and indescribably infectious. I laughed with him, although I failed to see anything funny in my remark. “I wondered how long it would be before you broke down and talked to me,” he said, when his amusement had quietened down. “Talking helps, you know; if you can talk with someone you’re not lonely any more, don’t you think?” As simple as that. Soon we were chatting away unreservedly, like old friends, and I had told him everything. “Teaching,” he said presently. “That’s the thing. Why not get a job as a teacher?” “That’s rather unlikely,” I replied. “I have had no training as a teacher.” “Oh, that’s not absolutely necessary. Your degrees would be considered in lieu of training, and I feel sure that with your experience and obvious ability you could do well.” “Look here, Sir, if these people would not let me near ordinary inanimate equipment about which I understand quite a bit, is it reasonable to expect them to entrust the education of their children to me?” “Why not? They need teachers desperately.” “It is said that they also need technicians desperately.” “Ah, but that’s different. I don’t suppose educational authorities can be bothered about the colour of people’s skins, and I do believe that in that respect the London County Council is rather outstanding. Anyway, there would be no need to mention it; let it wait until they see you at the interview.” “I’ve tried that method before. It didn’t work.” “Try it again, you’ve nothing to lose. I know for a fact that there are many vacancies for teachers in the East End of London.” “Why especially the East End of London?” “From all accounts it is rather a tough area, and most teachers prefer to seek jobs elsewhere.” “And you think it would be just right for a negro, I suppose.” The vicious bitterness was creeping back; the suspicion was not so easily forgotten. “Now, just a moment, young man.” He was wonderfully patient with me, much more so than I deserved. “Don’t ever underrate the people of the East End; from those very slums and alleyways are emerging many of the new breed of professional and scientific men and quite a few of our politicians. Be careful lest you be a worse snob than the rest of us. Was this the kind of spirit in which you sought the other jobs?

I am this day seventy years old, a monument of Divine mercy and goodness, though on a review of my life I find much, very much, for which I ought to be humbled in the dust; my direct and positive sins are innumerable, my negligence in the Lord’s work has been great, I have not promoted his cause, nor sought his glory and honor as I ought, notwithstanding all this, I am spared till now, and am still retained in his Work, and I trust I am received into the divine favor through him. I wish to be more entirely dovoted to his service, more completely sanctified and more habitually exercising all the Christian graces, and bringing forth the fruits of righteousness to the praise and honor of that Savior who gave his life a sacrifice for sin.

As I sat in the old church where generations of my ancestors may have worshipped, where prayers had been spoken and hearts broken and healed, it all made sense for a small moment. Religion made sense, if only to add context to the struggle of life and death. The church was a monument to what had been, a connection to the past that comforted those in the present, and it comforted me.

He got carried away as he developed his idea: 'The aesthetic quality of towns is essential. If, as has been said, every landscape is a frame of mind, then it is even more true of a townscape. The way the inhabitants think and feel corresponds to the town they live in. An analogous phenomenon can be observed in certain women who, during their pregnancy, surround themselves with harmonious objects, calm statues, bright gardens, delicate curios, so that their child-to-be, under their influence, will be beautiful. In the same way one cannot imagine a genius coming from other than a magnificent town. Goethe was born in Frankfurt, a noble city where the Main flows between venerable palaces, between walls where the ancient heart of Germany lives on. Hoffmann explains Nuremberg - his soul performs acrobatics on the gables like a gnome on the decorated face of an old German clock. In France there is Rouen, with its rich accumulation of architectural monuments, its. cathedral like an oasis of stone, which produced Corneille and then Flaubert, two pure geniuses shaking hands across the centuries. There is no doubt about it, beautiful towns make beautiful souls.

The Unknown Citizen by W. H. Auden (To JS/07 M 378 This Marble Monument Is Erected by the State) He was found by the Bureau of Statistics to be One against whom there was no official complaint, And all the reports on his conduct agree That, in the modern sense of an old-fashioned word, he was a saint, For in everything he did he served the Greater Community. Except for the War till the day he retired He worked in a factory and never got fired, But satisfied his employers, Fudge Motors Inc. Yet he wasn't a scab or odd in his views, For his Union reports that he paid his dues, (Our report on his Union shows it was sound) And our Social Psychology workers found That he was popular with his mates and liked a drink. The Press are convinced that he bought a paper every day And that his reactions to advertisements were normal in every way. Policies taken out in his name prove that he was fully insured, And his Health-card shows he was once in hospital but left it cured. Both Producers Research and High-Grade Living declare He was fully sensible to the advantages of the Instalment Plan And had everything necessary to the Modern Man, A phonograph, a radio, a car and a frigidaire. Our researchers into Public Opinion are content That he held the proper opinions for the time of year; When there was peace, he was for peace: when there was war, he went. He was married and added five children to the population, Which our Eugenist says was the right number for a parent of his generation. And our teachers report that he never interfered with their education. Was he free? Was he happy? The question is absurd: Had anything been wrong, we should certainly have heard.

Treasures have perished that were numbered among the noblest and dearest possessions of mankind; monuments have disappeared which nothing can replace; and the half of a nation, among all nations the most attached to its old simple habits, its humble homes, is at present wandering along the roads of Europe. Thousands of innocent people have been massacred; and of those who remain nearly all are doomed to poverty and hunger.

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

The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall; nations perish; civilizations grow old and die out; and, after an era of darkness, new races build others. But in the world of books are volumes that have seen this happen again and again, and yet live on, still young, still as fresh as the day they were written, still telling men's hearts of the hearts of men centuries dead.

Happiness depends not on things around me, but on my attitude. Alfred Montapert The monument of a great man is not of granite or marble or bronze. It consists of his goodness, his deeds, his love and his compassion. Alfred Montapert No better words than "thank you" have yet been discovered to express the sincere gratitude of one's heart, when the two words are sincerely spoken. Alfred Montapert The man or woman you really love will never grow old to you. Through the wrinkles of time, through the bowed frame of years, you will always see the dear face and feel the warm heart union of eternal love. Alfred Montapert The finest piece of mechanism in all the universe is the brain of man. The wise person develops his brain and opens his mind to the genius and spirit of the world's greatest ideas. He will feel inspired with the purest and noblest thoughts that have ever animated the spirit of humanity. Alfred Montapert.

Restorative nostalgics don’t just look at old photographs and piece together family stories. They are mythmakers and architects, builders of monuments and founders of nationalist political projects. They do not merely want to contemplate or learn from the past. They want, as Boym puts it, to “rebuild the lost home and patch up the memory gaps.” Many of them don’t recognize their own fictions about the past for what they are: “They believe their project is about truth.” They are not interested in a nuanced past, in a world in which great leaders were flawed men, in which famous military victories had lethal side effects. They don’t acknowledge that the past might have had its drawbacks. They want the cartoon version of history, and more importantly, they want to live in it, right now. They don’t want to act out roles from the past because it amuses them: they want to behave as they think their ancestors did, without irony.

Friends, I come to you very plainly afraid that I am losing faith in the idea that grief can become anything but grief. The way old neighborhoods are torn to the ground and new ones sprout from that same ground, it feels, most days, like my grief is simply being rebuilt and restructured along my own interior landscape. There is not enough distance between tragedies for my sadness to mature into anything else but another new monument obscuring the last new monument.

Algren’s book opens with one of the best historical descriptions of American white trash ever written.* He traces the Linkhorn ancestry back to the first wave of bonded servants to arrive on these shores. These were the dregs of society from all over the British Isles—misfits, criminals, debtors, social bankrupts of every type and description—all of them willing to sign oppressive work contracts with future employers in exchange for ocean passage to the New World. Once here, they endured a form of slavery for a year or two—during which they were fed and sheltered by the boss—and when their time of bondage ended, they were turned loose to make their own way. In theory and in the context of history the setup was mutually advantageous. Any man desperate enough to sell himself into bondage in the first place had pretty well shot his wad in the old country, so a chance for a foothold on a new continent was not to be taken lightly. After a period of hard labor and wretchedness he would then be free to seize whatever he might in a land of seemingly infinite natural wealth. Thousands of bonded servants came over, but by the time they earned their freedom the coastal strip was already settled. The unclaimed land was west, across the Alleghenies. So they drifted into the new states—Kentucky and Tennessee; their sons drifted on to Missouri, Arkansas and Oklahoma. Drifting became a habit; with dead roots in the Old World and none in the New, the Linkhorns were not of a mind to dig in and cultivate things. Bondage too became a habit, but it was only the temporary kind. They were not pioneers, but sleazy rearguard camp followers of the original westward movement. By the time the Linkhorns arrived anywhere the land was already taken—so they worked for a while and moved on. Their world was a violent, boozing limbo between the pits of despair and the Big Rock Candy Mountain. They kept drifting west, chasing jobs, rumors, homestead grabs or the luck of some front-running kin. They lived off the surface of the land, like army worms, stripping it of whatever they could before moving on. It was a day-to-day existence, and there was always more land to the west. Some stayed behind and their lineal descendants are still there—in the Carolinas, Kentucky, West Virginia and Tennessee. There were dropouts along the way: hillbillies, Okies, Arkies—they’re all the same people. Texas is a living monument to the breed. So is southern California. Algren called them “fierce craving boys” with “a feeling of having been cheated.” Freebooters, armed and drunk—a legion of gamblers, brawlers and whorehoppers. Blowing into town in a junk Model-A with bald tires, no muffler and one headlight … looking for quick work, with no questions asked and preferably no tax deductions. Just get the cash, fill up at a cut-rate gas station and hit the road, with a pint on the seat and Eddy Arnold on the radio moaning good back-country tunes about home sweet home, that Bluegrass sweetheart still waitin, and roses on Mama’s grave. Algren left the Linkhorns in Texas, but anyone who drives the Western highways knows they didn’t stay there either. They kept moving until one day in the late 1930s they stood on the spine of a scrub-oak California hill and looked down on the Pacific Ocean—the end of the road.

None of these men will bring about your death any time sooner, but rather they will teach you how to die. None of them will shorten your lifespan, but each will add the wisdom of his years to yours. In other words, there is nothing dangerous about talking to these people and it won’t cost you a penny. Take from them as much as you wish. It’s up to you to squeeze the most you can from their wisdom. What bliss, what a glorious old age awaits the man who has offered himself as a mate to these intellects! He will have mentors and colleagues from whom he may seek advice on the smallest of matters, companions ever ready with counsel for his daily life, from whom he may hear truth without judgment, praise without flattery, and after whose likeness he may fashion himself. They say ‘you can’t choose your parents,’ that they have been given to us by chance; but the good news is we can choose to be the sons of whomever we desire. There are many respectable fathers scattered across the centuries to choose from. Select a genius and make yourself their adopted son. You could even inherit their name and make claim to be a true descendant and then go forth and share this wealth of knowledge with others. These men will show you the way to immortality, and raise you to heights from which no man can be cast down. This is the only way to extend mortality – truly, by transforming time into immortality. Honors, statues and all other mighty monuments to man’s ambition carved in stone will crumble but the wisdom of the past is indestructible. Age cannot wither nor destroy philosophy which serves all generations. Its vitality is strengthened by each new generation’s contribution to it. The Philosopher alone is unfettered by the confines of humanity. He lives forever, like a god. He embraces memory, utilizes the present and anticipates with relish what is to come. He makes his time on Earth longer by merging past, present and future into one.

A little ways up from the shack was an outhouse with its door flung violently open. The inside of the outhouse was exposed like a human face and the outhouse seemed to say, "The old guy who built me crapped in here 9,745 times and he's dead now and I don't want anyone else to touch me. He was a good guy. He built me with loving care. Leave me alone. I'm a monument now to a good ass gone under. There's no mystery here. That's why the door's open. If you have to crap, go in the bushes like the deer." "Fuck you," I said to the outhouse. "All I want is a ride down the river.

Death appears as the harsh victory of the law of our ancestors of the dimension of our becoming. It is a fact that, as productivity increases, each succeeding generation becomes smaller in stature. The defeat of our fathers is revisited upon us as the limits of our world. Yes, structure is human, it is the monumentalization of congealed sweat, sweat squeezed from old exploitation and represented as nature, the world we inhabit, the objective ground. We do not, in our insect-like comings and going, make the immediate world in which we live, we do not make a contribution, on the contrary we are set in motion by it; a generation will pass before what we have done, as an exploited class, will seep through as an effect of objectivity. (Our wealth is laid down in heaven.) The structure of the world has been built by the dead, they were paid in wages, and when the wages were spent and they were in the ground, what they had made continued to exist, these cities, roads and factories are their calcified bones. They had nothing but their wages to show for what they had done, who they were and what they did has been cancelled out. But what they made has continued into our present, their burial and decay is our present. This is the definition of class hatred. We are no closer now to rest, to freedom, to communism than they were, their sacrifice has brought us nothing, what they did counted for nothing, we have inherited nothing, but they did produce value, they did make the world in which we now live, the world that now oppresses us is constructed from the wealth they made, wealth that was taken from them as soon as they were paid a wage, taken and owned by someone else, owned and used to define the nature of class domination. We too must work, and the value we produce leaks away from us, from each only a trickle but in all a sea of it and that, for the next generation, will thicken into wealth for others to own and as a congealed structure it will be used to frame new enterprises in different directions. The violence of what they produced becomes the structure that dominates our existence. Our lives begin amidst the desecration of our ancestors, millions of people who went to their graves as failures, and forever denied experiences of a full human existence, their simply being canceled out; as our parents die, we can say truly that their lives were for nothing, that the black earth that is thrown down onto them blacks out our sky.

Between the Pedestals of Night and Morning Between red death and radiant desire With not one sound of triumph or of warning Stands the great sentry on the Bridge of Fire. O transient soul, thy thought with dreams adorning, Cast down the laurel, and unstring the lyre: the wheels of Time are turning, turning, turning, The slow stream channels deep and doth not tire. Gods on their bridge above Whispering lies and love Shall mock your passage down the sunless river Which, rolling all it streams, shall take you, king of dreams, Unthroned and unapproachable for ever To where the kings who dreamed of old Whiten in habitations monumental cold.

The last time we saw each other, we talked about that statue over there,” she said. “He wanted to know why I was so fascinated by it. I told him that I had never seen it as a monument to a heroic deed, but rather as a representation of a terrible assault. He understood immediately, and asked, ‘What about the fire the dragon is breathing?’ I said it was the same fire that burns inside everyone who is being trampled on. The same fire that can turn us into ashes and waste, but which sometimes—if some old fool like Holger spots us, plays chess with us and talks to us, and just takes an interest—can become something totally different: a force which allows us to strike back.

In the nineteenth century wealthy families were typically settled, often for several generations, in a given locale. In a nation of wanderers their stability of residence provided a certain continuity. Old families were recognizable as such, especially in the older seaboard cities, only because, resisting the migratory habit, they put down roots. Their insistence on the sanctity of private property was qualified by the principle that property rights were neither absolute nor unconditional. Wealth was understood to carry civic obligations. Libraries, museums, parks, orchestras, universities, hospitals, and other civic amenities stood as so many monuments to upper-class munificence.

The 'most precious object of the Western world' is now a national monument of Ireland at the very highest level. It is probably the most famous and perhaps the most emotively charged medieval book of any kind. It is the iconic symbol of Irish culture. It is included in the Memory of the World Register compiled by UNESCO. A design echoing the Book of Kells was used on the former penny coin of Ireland (1971 to 2000) and on a commemorative twenty-euro piece in 2012. One of its initials was shown on the reverse of the old Irish five-pound banknote. It has been illustrated on the country's postage stamps. Probably every Irish bar in the world has some reflexion of its script or decoration.

There are few more striking indications of the changes of manners and customs that two or three hundred years have brought about, than these deserted churches.  Many of them are handsome and costly structures, several of them were designed by WREN, many of them arose from the ashes of the great fire, others of them outlived the plague and the fire too, to die a slow death in these later days.  No one can be sure of the coming time; but it is not too much to say of it that it has no sign in its outsetting tides, of the reflux to these churches of their congregations and uses.  They remain like the tombs of the old citizens who lie beneath them and around them, Monuments of another age. 

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

Thus pleasantly conversing on the favorable circumstances of our position as compared with those of past pilgrims and of narrow-minded ones at the present day, we soon found ourselves at the foot of the Hill Difficulty. Through the very heart of this rocky mountain a tunnel has been constructed of most admirable architecture, with a lofty arch and a spacious double track; so that, unless the earth and rocks should chance to crumble down, it will remain an eternal monument of the builder's skill and enterprise. It is a great though incidental advantage that the materials from the heart of the Hill Difficulty have been employed in filling up the Valley of Humiliation, thus obviating the necessity of descending into that disagreeable and unwholesome hollow.

I, too, grew up in a place that could sometimes feel as limiting and final as being locked in an airtight closet, the air humid and rank with one’s own breath and panic. A place where for all the brilliant, sun-drenched summer days, there is sometimes only the absence of light: America, and the American South. A place where the old myths still hold a special place in many white hearts: the rebel flag, Confederate monuments, lovingly restored plantations, Gone with the Wind. A place where black people were bred and understood to be animals, a place where some feel that the Fourteenth Amendment and Brown v. Board of Education are only the more recent in a series of unfortunate events. A place where black life has been systematically devalued for hundreds of years.

Hunters will tell you that a moose is a wily and ferocious forest creature. Nonsense. A moose is a cow drawn by a three-year-old. That’s all there is to it. Without doubt, the moose is the most improbable, endearingly hopeless creature ever to live in the wilds. Every bit of it—its spindly legs, its chronically puzzled expression, its comical oven-mitt antlers—looks like some droll evolutionary joke. It is wondrously ungainly: it runs as if its legs have never been introduced to each other. Above all, what distinguishes the moose is its almost boundless lack of intelligence. If you are driving down a highway and a moose steps from the woods ahead of you, he will stare at you for a long minute (moose are notoriously shortsighted), then abruptly try to run away from you, legs flailing in eight directions at once. Never mind that there are several thousand square miles of forest on either side of the highway. The moose does not think of this. Clueless as to what exactly is going on, he runs halfway to New Brunswick before his peculiar gait inadvertently steers him back into the woods, where he immediately stops and takes on a startled expression that says, “Hey—woods. Now how the heck did I get here?” Moose are so monumentally muddle-headed, in fact, that when they hear a car or truck approaching they will often bolt out of the woods and onto the highway in the curious hope that this will bring them to safety. Amazingly, given the moose’s lack of cunning and peculiarly-blunted survival instincts, it is one of the longest-surviving creatures in North America.

forty-seven years old, tired, but none the worse for wear. In a little more than thirteen months, he had discovered, analyzed, and packed tens of thousands of pieces of artwork, including eighty truckloads from Altaussee alone. He had organized the MFAA field officers at Normandy, pushed SHAEF to expand and support the monuments effort, mentored the other Monuments Men across France and Germany, interrogated many of the important Nazi art officials, and inspected most of the Nazi repositories south of Berlin and east of the Rhine. It would be no exaggeration to guess he put 50,000 miles on his old captured VW and visited nearly every area of action in U.S. Twelfth Army Group territory. And during his entire tour of duty on the continent, he had taken exactly one and a half days off.

It was a city in which the very old and the awkwardly new jostled each other, not uncomfortably, but without respect; a city of shops and offices and restaurants and homes, of parks and churches, of ignored monuments and remarkably unpalatial palaces; a city of hundreds of districts with strange names—Crouch End, Chalk Farm, Earl’s Court, Marble Arch—and oddly distinct identities; a noisy, dirty, cheerful, troubled city, which fed on tourists, needed them as it despised them, in which the average speed of transportation through the city had not increased in three hundred years, following five hundred years of fitful road widening and unskillful compromises between the needs of traffic, whether horse-drawn or, more recently, motorized, and the needs of pedestrians; a city inhabited by and teeming with people of every color and manner and kind.

As Christ, in the Hebrew of the Old Testament, was called Adonai, The Lord, so Tammuz was called Adon or Adonis. Under the name of Mithras, he was worshipped as the "Mediator." As Mediator and head of the covenant of grace, he was styled Baal-berith, Lord of the Covenant --(Judges viii. 33). In this character he is represented in Persian monuments as seated on the rainbow, the wellknown symbol of the covenant. In India, under the name of Vishnu, the Preserver or Saviour of men, though a god, he was worshipped as the great "Victim-Man," who before the worlds were, because there was nothing else to offer, offered himself as a sacrifice. The Hindu sacred writings teach that this mysterious offering before all creation is the foundation of all the sacrifices that have ever been offered since. Do any marvel at such a statement being found in sacred books of a Pagan mythology?

The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall; nations perish; civilizations grow old and die out; and, after an era of darkness, new races build others. But in the world of books are volumes that have seen this happen again and again, and yet live on, still young, still as fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead. And even the books that do not last long, penetrate their own times at least, sailing farther than Ulysses even dreamed of, like ships on the seas. It is the author’s part to call into being their cargoes and passengers,--living thoughts and rich bales of study and jeweled ideas. As for the publishers, it is they who build the fleet, plan the voyage, and sail on, facing wreck, till they find every possible harbor that will value their burden.

Will for life is will for form. Death, in its most visible and immediate expression, is the disintegration of form. Childhood and youth are the promise of form. Old age is the ruin of physical form; death, the fall into formlessness. That is why one of the most ancient and simple manifestations of the will for life is art. The first thing man did upon discovering that he was mortal was to erect a tomb. Art began with the consciousness of death. The mausoleum, since ancient times, has been both an homage to the dead and a defiance of death: the body decays, turns to dust, but the monument remains. Form remains. We are threatened not only by death by time itself, which makes, then unmakes, us. Every sculpture, every painting, every poem, every song is a form animated by the will to survive time and its erosions. The now wants to be saved, to be converted into stone or drawing, into color, sound, or word.

Now he must get back to Margaret. In the old days, he used to come home full of tales about deliveries, excited, even exalted by having witnessed the same old miracle. But after they lost both their sons in the war, she couldn't stand to hear about any of that and he kept it to himself. She had become a shadow, acquiescent, passive, full of humdrum little remarks about the house and the weather and how hard he was on his clothes, and then he'd bought her a puppy, and she talked endlessly about that. It had become a fat spoiled dog, and still she talked about it as though it were a puppy. It was all he could think to do for her, as his grief had never been allowed to be on par with hers. He kept that to himself as well. But when he was alone in the car like this, and with a drop of whisky inside him, he thought about Ian and Donald who were never spoken of at home, who would, he felt, be entirely forgotten except for his own memory and their names on the village monument.

was strange but true. And perhaps I’d known it in some way from the very beginning. Perhaps the impulse to purchase the PCT guidebook months before had been a primal grab for a cure, for the thread of my life that had been severed. I could feel it unspooling behind me—the old thread I’d lost, the new one I was spinning—while I hiked that morning, the snowy peaks of the High Sierras coming into occasional view. As I walked, I didn’t think of those snowy peaks. Instead, I thought of what I would do once I arrived at the Kennedy Meadows General Store that afternoon, imagining in fantastic detail the things I would purchase to eat and drink—cold lemonade and candy bars and junk food I seldom ate in my regular life. I pictured the moment when I would lay hands on my first resupply box, which felt to me like a monumental milestone, the palpable proof that I’d made it at least that far. Hello, I said to myself in anticipation of what I’d say once I arrived at the store, I’m a PCT hiker here to pick up my box. My name is Cheryl Strayed.

Bulgakov always loved clowning and agreed with E. T. A. Hoffmann that irony and buffoonery are expressions of ‘the deepest contemplation contemplation of life in all its conditionality’. It is not by chance that his stage adaptations of the comic masterpieces of Gogol and Cervantes coincided with the writing of The Master and Margarita. Behind such specific ‘influences’ stands the age-old tradition of folk humour with its carnivalized world-view, its reversals and dethronings, its relativizing of worldly absolutes—a tradition that was the subject of a monumental study by Bulgakov’s countryman and contemporary Mikhail Bakhtin. Bakhtin’s Rabelais and His World, which in its way was as much an explosion of Soviet reality as Bulgakov’s novel, appeared in 1965, a year before The Master and Margarita. The coincidence was not lost on Russian readers. Commenting on it, Bulgakov’s wife noted that, while there had never been any direct link between the two men, they were both responding to the same historical situation from the same cultural basis.

You whom I could not save, Listen to me. Can we agree Kevlar backpacks shouldn’t be needed for children walking to school? Those same children also shouldn’t require a suit of armor when standing on their front lawns, or snipers to watch their backs as they eat at McDonalds. They shouldn’t have to stop to consider the speed of a bullet or how it might reshape their bodies. But one winter, back in Detroit, I had one student who opened a door and died. It was the front door to his house, but it could have been any door, and the bullet could have written any name. The shooter was thirteen years old and was aiming at someone else. But a bullet doesn’t care about “aim,” it doesn’t distinguish between the innocent and the innocent, and how was the bullet supposed to know this child would open the door at the exact wrong moment because his friend was outside and screaming for help. Did I say I had “one” student who opened a door and died? That’s wrong. There were many. The classroom of grief had far more seats than the classroom for math though every student in the classroom for math could count the names of the dead. A kid opens a door. The bullet couldn’t possibly know, nor could the gun, because “guns don’t kill people,” they don’t have minds to decide such things, they don’t choose or have a conscience, and when a man doesn’t have a conscience, we call him a psychopath. This is how we know what type of assault rifle a man can be, and how we discover the hell that thrums inside each of them. Today, there’s another shooting with dead kids everywhere. It was a school, a movie theater, a parking lot. The world is full of doors. And you, whom I cannot save, you may open a door and enter a meadow, or a eulogy. And if the latter, you will be mourned, then buried in rhetoric. There will be monuments of legislation, little flowers made from red tape. What should we do? we’ll ask again. The earth will close like a door above you. What should we do? And that click you hear? That’s just our voices, the deadbolt of discourse sliding into place.

I'm sorry I looked. Or saw, I guess. I didn't go digging through your book. The pages fell out." "Yeah. I kinda figured that might have been what happened." He scuffed one heel against the cement. "The book fell out of my bag again...and,well..." And,well, there he was,forgiven. "Zippers," I said. "One of mankind's better inventions. Your bag has one; I've seen it." "You see much, Grasshopper." I blinked at him. "C'mon. Kung Fu?" He let go of his knees and sliced both hands through the air in a choppy spiral. "Shaolin monk fighting against injustice while searching for his long-lost brother in the Old West?" I shook my head. "Nope.Sorry."" "Sad. I bet you wouldn't recognize 'Live long and prosper,' either." "Nope." "How did I know? My dad got me into seventies TV.It's awfully brilliant. Or brilliantly awful, maybe." He had relaxed and was looking monumentally pleased with seventies television or himself or something. You're awfully beautiful, Alex Bainbridge. I managed to keep that one to myself,but... "You're really good." That one got away from me. "Your drawing, I mean.

Glenskehy is outside Dublin, tucked away in the Wicklow mountains near nothing very much. I'd lived half my life in Wicklow without getting any closer to it than the odd signpost. It turned out to be that kind of place: a scatter of houses getting old around a once-a-month church and a pub and a sell-everything shop, small and isolated enough to have been overlooked even by the desperate generation trawling the countryside for homes they can afford. Eight o'clock on a Thursday morning, and the main street - to use both words loosely - was postcard-perfect and empty, just one old woman pulling a shopping trolley past a worn granite monument to something or other, little sugared-almond houses lined up crookedly behind her, and the hills rising green and brown and indifferent over it all. I could imagine someone getting killed there, but a farmer in a generations-old fight over a boundary fence, a woman whose man had turned savage with drink and cabin fever, a man sharing a house with his brother forty years too long: deep-rooted, familiar crimes old as Ireland, nothing to make a detective as experienced as Sam sound like that.

I started to sing. Yes, sing. "I'm a Yankee Doodle Dandy. Yankee Doodle Do or die." I let go of Henry and Caroline and started marching, like I was the leader of a parade. "An old old something something la la la, born on the Fourth of July." So maybe I didn't know the words, exactly. Alex joined in. Astrid, too. All three of us marching like idiots. "You're my Yankee Doodle sweetheart, Yankee Doodle do or die." I led the three of us, making up the words somewhat and we walked in front of the gate, getting between the eyes of the little kids and the plywood, just trying to break the terror spell of the monster outside. Who now stared to yell, "YOU SINKING 'YANKEE DOODLE'? 'YANKEE DOODLE DANDY'? I'LL F--- KILL YOU!" Niko joined in and that guy, I am here to tell you, is entirely tone deaf. But the little kids kind of snapped to. We caught their attention. "Yankee Doodle went to town a riding on a pony. I am a Yankee Doodle guy." And the kids started marching and I led the parade, the saddest parade in the history of the world, away from the front of the store, away from the monster outside, and right to the stupid cookie and cracker aisle. We ate fudge-covered graham crackers for a good long while.

H-22: Father Corby Monument 39º48.205’N, 77º14.063’W This monument honors the hundreds of chaplains present on the field in 1863. As chaplain of the Eighty-eighth New York Infantry of the famed Irish Brigade, Father William Corby, twenty-nine years old, has become as famous as many of those who actually bore arms those three fateful days. As the Irish Brigade formed up to enter the fight, Father Corby stepped onto a boulder—some historians believe the very boulder on which the monument stands—and raised his hand. Three hundred soldiers drew silent, many of them dropping to their knees, as the battle raged around them. The priest blessed them, prayed for their safety, and granted a general absolution, after which the troops marched into the fight. Corby’s admonition that the church would refuse a Christian burial for any man who failed to do his duty that day rang in their ears as they headed off. Following the war, Father Corby became president of the University of Notre Dame. A replica of this monument stands on the university’s campus, marking his grave. Years after the war, veterans of the Irish Brigade petitioned to have the Medal of Honor awarded to Corby, a request that was ultimately denied.

And there, until 1884, it was possible to gaze on the remains of a generally neglected monument, so-called Dagobert’s Tower, which included a ninth-century staircase set into the masonry, of which the thirty-foot handrail was fashioned out of the trunk of a gigantic oak tree. Here, according to tradition, lived a barber and a pastry-cook, who in the year 1335 plied their trade next door to each other. The reputation of the pastry-cook, whose products were among the most delicious that could be found, grew day by day. Members of the high-ranking clergy in particular were very fond of the extraordinary meat pies that, on the grounds of keeping to himself the secret of how the meats were seasoned, our man made all on his own, with the sole assistance of an apprentice who was responsible for the pastry. His neighbor the barber had won favor with the public through his honesty, his skilled hairdressing and shaving, and the steam baths he offered. Now, thanks to a dog that insistently scratched at the ground in a certain place, the ghastly origins of the meat used by the pastry-cook became known, for the animal unearthed some human bones! It was established that every Saturday before shutting up shop the barber would offer to shave a foreign student for free. He would put the unsuspecting young man in a tip-back seat and then cut his throat. The victim was immediately rushed down to the cellar, where the pastry-cook took delivery of him, cut him up, and added the requisite seasoning. For which the pies were famed, ‘especially as human flesh is more delicate because of the diet,’ old Dubreuil comments facetiously. The two wretched fellows were burned with their pies, the house was ordered to be demolished, and in its place was built a kind of expiatory pyramid, with the figure of the dog on one of its faces. The pyramid was there until 1861. But this is where the story takes another turn and joins the very best of black comedy. For the considerable number of ecclesiastics who had unwittingly consumed human flesh were not only guilty before God of the very venial sin of greed; they were automatically excommunicated! A grand council was held under the aegis of several bishops and it was decided to send to Avignon, where Pope Clement VI resided, a delegation of prelates with a view to securing the rescindment if not of the Christian interdiction against cannibalism then at least of the torments of hell that faced the inadvertent cannibals. The delegation set off, with a tidy sum of money, bare-footed, bearing candles and singing psalms. But the roads of that time were not very safe and doubtless strewn with temptation. Anyway, the fact is that Clement VI never saw any sign of the penitents, and with good reason.

Congress displayed contempt for the city's residents, yet it retained a fondness for buildings and parks. In 1900, the centennial of the federal government's move to Washington, many congressmen expressed frustration that the proud nation did not have a capital to rival London, Paris, and Berlin. The following year, Senator James McMillan of Michigan, chairman of the Senate District Committee, recruited architects Daniel Burnham and Charles McKim, landscape architect Frederick Law Olmsted Jr., and sculptor Augustus Saint-Gaudens to propose a park system. The team, thereafter known as the McMillan Commission, emerged with a bold proposal in the City Beautiful tradition, based on the White City of Chicago's 1893 Columbian Exposition. Their plan reaffirmed L'Enfant's avenues as the best guide for the city's growth and emphasized the majesty of government by calling for symmetrical compositions of horizontal, neoclassical buildings of marble and white granite sitting amid wide lawns and reflecting pools. Eventually, the plan resulted in the remaking of the Mall as an open lawn, the construction of the Lincoln Memorial and Memorial Bridge across the Potomac, and the building of Burnham's Union Station. Commissioned in 1903, when the state of the art in automobiles and airplanes was represented by the curved-dash Olds and the Wright Flyer, the station served as a vast and gorgeous granite monument to rail transportation.

But we may fairly say that they alone are engaged in the true duties of life who shall wish to have Zeno, Pythagoras, Democritus, and all the other high priests of liberal studies, and Aristotle and Theophrastus, as their most intimate friends every day. No one of these will be "not at home," no one of these will fail to have his visitor leave more happy and more devoted to himself than when he came, no one of these will allow anyone to leave him with empty hands; all mortals can meet with them by night or by day. No one of these will force you to die, but all will teach you how to die; no one of these will wear out your years, but each will add his own years to yours; conversations with no one of these will bring you peril, the friendship of none will endanger your life, the courting of none will tax your purse. From them you will take whatever you wish; it will be no fault of theirs if you do not draw the utmost that you can desire. What happiness, what a fair old age awaits him who has offered himself as a client to these! He will have friends from whom he may seek counsel on matters great and small, whom he may consult every day about himself, from whom he may hear truth without insult, praise without flattery, and after whose likeness he may fashion himself. We are wont to say that it was not in our power to choose the parents who fell to our lot, that they have been given to men by chance; yet we may be the sons of whomsoever we will. Households there are of noblest intellects; choose the one into which you wish to be adopted; you will inherit not merely their name, but even their property, which there will be no need to guard in a mean or niggardly spirit; the more persons you share it with, the greater it will become. These will open to you the path to immortality, and will raise you to a height from which no one is cast down. This is the only way of prolonging mortality—nay, of turning it into immortality. Honours, monuments, all that ambition has commanded by decrees or reared in works of stone, quickly sink to ruin; there is nothing that the lapse of time does not tear down and remove. But the works which philosophy has consecrated cannot be harmed; no age will destroy them, no age reduce them; the following and each succeeding age will but increase the reverence for them, since envy works upon what is close at hand, and things that are far off we are more free to admire. The life of the philosopher, therefore, has wide range, and he is not confined by the same bounds that shut others in. He alone is freed from the limitations of the human race; all ages serve him as if a god. Has some time passed by? This he embraces by recollection. Is time present? This he uses. Is it still to come? This he anticipates. He makes his life long by combining all times into one. But those who forget the past, neglect the present, and fear for the future have a life that is very brief and troubled; when they have reached the end of it, the poor wretches perceive too late that for such a long while they have been busied in doing nothing.

There has been a revolution in the way people think. They have just noticed, without daring to say it, that the old paradigm, according to which ‘the fate of humanity, individual and collective, is getting better every day, thanks to science, democratisation, and egalitarian emancipation’, is false. The age that believed it is over. This illusion has fallen. This progress (debatable anyhow according to people like Ivan Illich)[203] lasted probably less than a century. Today, the unintended consequences of mass technology are beginning to be felt: new resistant viruses, the toxicity of processed food, the exhaustion of the soil and the shrinking of the world’s agricultural production, the general and rapid degradation of the environment, the threat of the invention of new weapons of mass destruction to add to nuclear weapons, and so on. In addition, technology is entering its baroque age. The fundamental inventions were discovered by the end of the 1950s. The improvements to them made in later decades have contributed fewer and fewer concrete ameliorations, like so many useless decorative motifs added to the superstructure of a monument. The Internet has probably had fewer revolutionary effects than the telegraph or the telephone. The Internet is a significant improvement applied to a pan-communication that was already substantially realised. Techno-science is following the ‘80-20’ power law. At the beginning it takes 20 units of energy to obtain 60 units of force. Later it takes 80 units of energy to realise only 20 units of force.

How many of these do you suppose will be alive at this time to-morrow?" asked Sir Henry. I shook my head and looked again at the sleeping men, and to my tired and yet excited imagination it seemed as though Death had already touched them. My mind's eye singled out those who were sealed to slaughter, and there rushed in upon my heart a great sense of the mystery of human life, and an overwhelming sorrow at its futility and sadness. To-night these thousands slept their healthy sleep, to-morrow they, and many others with them, ourselves perhaps among them, would be stiffening in the cold; their wives would be widows, their children fatherless, and their place know them no more for ever. Only the old moon would shine on serenely, the night wind would stir the grasses, and the wide earth would take its rest, even as it did æons before we were, and will do æons after we have been forgotten. Yet man dies not whilst the world, at once his mother and his monument, remains. His name is lost, indeed, but the breath he breathed still stirs the pine-tops on the mountains, the sound of the words he spoke yet echoes on through space; the thoughts his brain gave birth to we have inherited to-day; his passions are our cause of life; the joys and sorrows that he knew are our familiar friends—the end from which he fled aghast will surely overtake us also! Truly the universe is full of ghosts, not sheeted churchyard spectres, but the inextinguishable elements of individual life, which having once been, can never die, though they blend and change, and change again for ever.

In the earliest strand of the conquest narratives, Joshua's violence was associated with an ancient Canaanite custom called the "ban" (herem). Before a battle, a military leader would strike a deal with his god: if this deity undertook to give him the city, the commander promised to "devote" (HRM) all valuable loot to his temple and offer the conquered people to him in a human sacrifice. Joshua had made such a pact with Yahweh before attacking Jericho, and Yahweh responded by delivering the town to Israel in a specular miracle, causing its famous walls to collapse when the priests blew their rams' horns. Before allowing his troops to storm the city, Joshua explained the terms of the ban and stipulated that no one in the city should be spared, since everybody and everything in the town had been "devoted" to Yahweh. Accordingly, the Israelites "enforced the ban on everything in the town, men, and women, young and old, even the oxen and sheep and donkeys, massacring them all." But the ban had been violated when one of the soldiers kept booty for himself, and consequently the Israelites failed to take the town of Ai the following day. After the culprit had been found and executed, the Israelites attached Ai again, this time successfully, setting fire to the city so that it became a sacrificial pyre and slaughtering anybody who tried to escape: "The number of those who fell that day, men and women together, were twelve thousand all (the) people of Ai." Finally Joshua hanged the king from a tree, built a monumental cairn over his body, and reduced the city to "a ruin for ever more, a desolate place, even today.

The PEOPLE, SCHOOL, EVERYONE, and EVERYTHING is so FAKE AND GAY.' 'I shrieked, at the top of my voice fingers outspread and frozen in fear, unlike ever before in my young life; being the gentle, sweet, and shy girl that I am.' 'Besides always too timid to have a voice, to stand up for me, and forced not to, by masters.' Amidst my thoughts racing ridiculously, 'I feel that it is all just another way for the 'SOCIETY' to make me feel inferior, they think, they are so 'SUPERIOR' to me, and who I am to them.' 'Nonetheless, every day of my life, I have felt like I have been drowning in a pool, with weights attached to my ankles.' 'Like, of course, there is no way for me to escape the chains that are holding me down.' 'The one and only person, that holds the key to my freedom: WILL NEVER LET ME GO! It's like there is within me, and has been deep inside me!' 'I now live in this small dull town for too damn long. It is an UNSYMPATHETIC, obscure, lonely, totally depressed, and depressing place, for any teenage girl to be, most definitely if you're a girl like me.' 'All these streets surrounding me are covered with filth, and born in the hills of middle western Pennsylvania mentalities of slow-talking and deep heritages, and beliefs, that don't operate me as a soul lost and lingering within the streets and halls.' 'My old town was ultimately left behind when the municipality neighboring made the alterations to the main roads; just to save five minutes of commuting, through this countryside village. Now my town sits on one side of that highway.' 'Just like a dead carcass to the rest of the world, which rushes by. What is sullen about this is that it is a historic town, with some immeasurable old monuments, and landmarks.' 'However, the others I see downright neglect what is here, just like me, it seems. Other than me, no one cares. Yet I care about all the little things.' 'I am so attached to all these trivial things as if they are a part of me. It disheartens me to see anything go away from me.' 'It's a community where the litter blows and bisects the road, like the tumble-wheats of the yore of times past.' 'Furthermore, if you do not look where you are going, you will fall in our trip, in one of the many potholes or heaved up bumps in the pavement, or have an evacuated structure masonry descending on your head.' 'Merely one foolproof way of simplifying the appearance of this ghost town.' 'There are still some reminders of the glory days when you glance around.' 'Like the town clock, that is evaporated black that has chipped enamel; it seems that it is always missing a few light bulbs.' 'The timepiece only has time pointing hands on the one side, and it nevermore shows the right time of day.' 'The same can be assumed for the neon signs on the mom-and-pop shops, which flicker at night as if they're in agonizing PAIN.' 'Why? To me is a question that is asked frequently.' 'It is all over negligence!' 'I get the sense and feeling most of the time, as they must prepare when looking around here at night.' 'The streetlamps do not all work, as they should. The glass in them is cracked.' 'The parking meters are always jammed, or just completely broken off their posts altogether.' 'The same can be said, for the town sign that titles this area. It is not even here anymore, as it should be now moved to the town square or shortage of a park.

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

Except then a local high school journalism class decided to investigate the story. Not having attended Columbia Journalism School, the young scribes were unaware of the prohibition on committing journalism that reflects poorly on Third World immigrants. Thanks to the teenagers’ reporting, it was discovered that Reddy had become a multimillionaire by using H-1B visas to bring in slave labor from his native India. Dozens of Indian slaves were working in his buildings and at his restaurant. Apparently, some of those “brainy” high-tech workers America so desperately needs include busboys and janitors. And concubines. The pubescent girls Reddy brought in on H-1B visas were not his nieces: They were his concubines, purchased from their parents in India when they were twelve years old. The sixty-four-year-old Reddy flew the girls to America so he could have sex with them—often several of them at once. (We can only hope this is not why Mark Zuckerberg is so keen on H-1B visas.) The third roommate—the crying girl—had escaped the carbon monoxide poisoning only because she had been at Reddy’s house having sex with him, which, judging by the looks of him, might be worse than death. As soon as a translator other than Reddy was found, she admitted that “the primary purpose for her to enter the U.S. was to continue to have sex with Reddy.” The day her roommates arrived from India, she was forced to watch as the old, balding immigrant had sex with both underage girls at once.3 She also said her dead roommate had been pregnant with Reddy’s child. That could not be confirmed by the court because Reddy had already cremated the girl, in the Hindu tradition—even though her parents were Christian. In all, Reddy had brought seven underage girls to the United States for sex—smuggled in by his brother and sister-in-law, who lied to immigration authorities by posing as the girls’ parents.4 Reddy’s “high-tech” workers were just doing the slavery Americans won’t do. No really—we’ve tried getting American slaves! We’ve advertised for slaves at all the local high schools and didn’t get a single taker. We even posted flyers at the grade schools, asking for prepubescent girls to have sex with Reddy. Nothing. Not even on Craigslist. Reddy’s slaves and concubines were considered “untouchables” in India, treated as “subhuman”—“so low that they are not even considered part of Hinduism’s caste system,” as the Los Angeles Times explained. To put it in layman’s terms, in India they’re considered lower than a Kardashian. According to the Indian American magazine India Currents: “Modern slavery is on display every day in India: children forced to beg, young girls recruited into brothels, and men in debt bondage toiling away in agricultural fields.” More than half of the estimated 20.9 million slaves worldwide live in Asia.5 Thanks to American immigration policies, slavery is making a comeback in the United States! A San Francisco couple “active in the Indian community” bought a slave from a New Delhi recruiter to clean house for them, took away her passport when she arrived, and refused to let her call her family or leave their home.6 In New York, Indian immigrants Varsha and Mahender Sabhnani were convicted in 2006 of bringing in two Indonesian illegal aliens as slaves to be domestics in their Long Island, New York, home.7 In addition to helping reintroduce slavery to America, Reddy sends millions of dollars out of the country in order to build monuments to himself in India. “The more money Reddy made in the States,” the Los Angeles Times chirped, “the more good he seemed to do in his hometown.” That’s great for India, but what is America getting out of this model immigrant? Slavery: Check. Sickening caste system: Check. Purchasing twelve-year-old girls for sex: Check. Draining millions of dollars from the American economy: Check. Smuggling half-dead sex slaves out of his slums in rolled-up carpets right under the nose of the Berkeley police: Priceless.

Reflective nostalgics miss the past and dream about the past. Some of them study the past and even mourn the past, especially their own personal past. But they do not really want the past back. Perhaps this is because, deep down, they know that the old homestead is in ruins, or because it has been gentrified beyond recognition--or because they quietly recognize that they wouldn't much like it now anyway. Once upon a time life might have been sweeter or simpler, but it was also more dangerous, or more boring, or perhaps more unjust. Radically different from the reflective nostalgics are what Boym calls the restorative nostalgics, not all of whom recognize themselves as nostalgics at all. Restorative nostalgics don't just look at old photographs and piece together family stories. They are mythmakers and architects, builders of monuments and founders of nationalist political projects. They do not merely want to contemplate or learn from the past. They want, as Boym puts it, to "rebuild the lost home and patch up the memory gaps." Many of them don't recognize their own fictions about the past for what they are: "They believe their project is about truth." They are not interested in a nuanced past, in a world in which great leaders were flawed men, in which famous military victories had lethal side effects. They don't acknowledge that the past might have had its drawbacks. They want the cartoon version of history, and more importantly, they want to live in it, right now. They don't want to act out roles from the past because it amuses them: they want to behave as think their ancestors did, without irony. It is not by accident that restorative nostalgia often goes hand in hand with conspiracy theories and the medium-sized lies. These needn't be as harsh or crazy as the Smolensk conspiracy theory or the Soros conspiracy theory; they can gently invoke scapegoats rather than a full-fledged alternative reality. At a minimum, they can offer an explanation: The nation is no longer great because someone has attacked us, undermined us, sapped our strength. Someone—the immigrants, the foreigners, the elites, or indeed the EU—has perverted the course of history and reduced the nation to a shadow of its former self. The essential identity that we once had has been taken away and replaced with something cheap and artificial. Eventually, those who seek power on the back of restorative nostalgia will begin to cultivate these conspiracy theories, or alternative histories, or alternative fibs, whether or not they have any basis in fact.

We danced to John Michael Montgomery’s “I Swear.” We cut the seven-tiered cake, electing not to take the smear-it-on-our-faces route. We visited and laughed and toasted. We held hands and mingled. But after a while, I began to notice that I hadn’t seen any of the tuxedo-clad groomsmen--particularly Marlboro Man’s friends from college--for quite some time. “What happened to all the guys?” I asked. “Oh,” he said. “They’re down in the men’s locker room.” “Oh, really?” I asked. “Are they smoking cigars or something?” “Well…” He hesitated, grinning. “They’re watching a football game.” I laughed. “What game are they watching?” It had to be a good one. “It’s…ASU is playing Nebraska,” he answered. ASU? His alma mater? Playing Nebraska? Defending national champions? How had I missed this? Marlboro Man hadn’t said a word. He was such a rabid college football fan, I couldn’t believe such a monumental game hadn’t been cause to reschedule the wedding date. Aside from ranching, football had always been Marlboro Man’s primary interest in life. He’d played in high school and part of college. He watched every televised ASU game religiously--for the nontelevised games, he relied on live reporting from Tony, his best friend, who attended every game in person. “I didn’t even know they were playing!” I said. I don’t know why I shouldn’t have known. It was September, after all. But it just hadn’t crossed my mind. I’d been a little on the busy side, I guess, getting ready to change my entire life and all. “How come you’re not down there watching it?” I asked. “I didn’t want to leave you,” he said. “You might get hit on.” He chuckled his sweet, sexy chuckle. I laughed. I could just see it--a drunk old guest scooting down the bar, eyeing my poufy white dress and spouting off pickup lines: You live around here? I sure like what you’re wearing… So…you married? Marlboro Man wasn’t in any immediate danger. Of that I was absolutely certain. “Go watch the game!” I insisted, motioning downstairs. “Nah,” he said. “I don’t need to.” He wanted to watch the game so badly I could see it in the air. “No, seriously!” I said. “I need to go hang with the girls anyway. Go. Now.” I turned my back and walked away, refusing even to look back. I wanted to make it easy on him. I wouldn’t see him for over an hour. Poor Marlboro Man. Unsure of the protocol for grooms watching college football during their wedding receptions, he’d darted in and out of the locker room for the entire first half. The agony he must have felt. The deep, sustained agony. I was so glad he’d finally joined the guys.

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

The Circle of the Giants—Gilgal Rephaim. 5200-year-old monument believed by some to have been built

I have never really liked this city. It was forced on me against my will by ambitious parents in search of greater opportunities and better lives. That’s why everyone comes here, to this seductive monument to self-advancement or at the very least, self-preservation. It’s a city that doesn’t take risks. Men wear boxy suit jackets over golf shirts tucked into khakis. Women wear sensible skirts, pantsuits and pumps. They all pull roller backpacks behind them because of subway ads enumerating the signs and evils of scoliosis as they walk to big-box buildings made of similarly colored sandstone. You can’t get lost here because there’s nothing to lose yourself in. These avenues, at least downtown, are not built for wanderers, and these monuments are constructed to inspire awe not contemplation. But things have changed if only to protect the desire to remain the same. The streets have more barricades because the streets have more impromptu protesters, a dismal lot with their posterboard signs and hoarse-voiced chants against the monster in power and his minions. There are more armored vehicles now and more police officers in tactical gear and body armor wielding large black guns. It’s a brave new world wrapped around the old one to make it great again.

I believe that we shocked each other by how swiftly we went from being the people who knew each other best in the world to being a pair of the most mutually incomprehensible strangers who ever lived. But it was vital to my survival to have a one bedroom of my own i saw the aprtment almost as a sanatorium a hospice clinci for my own recovery I painted the walls in the warmest colors i could find and bought myself flowers every week as if i were visiting myself in the hospital is this lifetime supposed to be only about duty why are you studying Italian so that just in case Italy ever invades Ethiopia again and is actually successful this time? ciao comes from if you must know it's an abbreviation of a phrase used by medieval venetians as an intimate salutation Sono il Suo Schiavo meaning i am your slave. om Naamah Shivaya meaning I honor the divinity that resides whin me. I wanted to experience both , I wanted worldly enjoyment and divine transcendence the dual glories of a human life I wanted what the Greeks called kalos kai agathos the singular balance of the good and he beautiful I'd been missing both during these last hard years because both pleasure and devotion require a stress free space in which to flourish and I'd been living in a giant trash compactor of nonstop anxiety , As for how to balance the urge for pleasure against the longing for devotion. four feet on the ground a head full of foliage looking at the world through the heart. it was more than I wanted to toughly explore one aspect of myself set against the backdrop of each country in a place that has traditionally done that one thing very well. same guatemalan musicians are always playing id rather be a sparrow than a snail on their bamboo windpipes oh how i want italian to open itself up to me i havent felt so starved for comprehension since then dal centro della mia vita venne una grande fontanana dolce sitl nuovo Dante wrote his divine comedy in terza rima triple rhyme a chain of rhymes with each rhyme repeating here times every five lines. lamor che move il sole e laltre stelle we are the masters of bel far niente larte darrangiarsi The reply in italy to you deserve a break today would probably be yeah no duh that's why I'm planning on taking a break at noon to go over to your house and sleep with your wife, I walked home to my apartment and soft-boiled a pair of fresh brown eggs for my lunch i peeled the eggs and arranged them on a plate beside the seven stalks of the asparagus (which were so slim and snappy they didn't need to be cooked at all,)I put some olives on the plate too and the four knobs of goat cheese I'd picked up yesterday from the fromagerie down the street tend two slices of pink oily salmon for dessert a lovely peach which the woman at the market had given to me for free and which was still warm form the roman sunlight for the longest time I couldn't even touch this food because it was such a masterpiece of lunch a true expression of the art of making something out of nothing finally when i had fully absorbed the prettiness of my meal i went and sat in apatch of sunbeam on my clean wooden floor and ate every bit of it with my fingers while reading my daily newspaper article in Italian happiness inhabited my every molecule. I am inspired by the regal self assurance of this town so grounded and rounded so amused and monumental knowing that she is held securely in the palm of history i would like to be like rome when i am an old lady. I linger over my food and wine for many hours because nobody in

Let the reader peruse the following statement of Sir G. Wilkinson: "A still more curious fact may be mentioned respecting this hieroglyphical character [the Tau], that the early Christians of Egypt adopted it in lieu of the cross, which was afterwards substituted for it, prefixing it to inscriptions in the same manner as the cross in later times. For, though Dr. Young had some scruples in believing the statement of Sir A. Edmonstone, that it holds that position in the sepulchres of the great Oasis, I can attest that such is the case, and that numerous inscriptions, headed by the Tau, are preserved to the present day on early Christian monuments." The drift of this statement is evidently this, that in Egypt the earliest form of that which has since been called the cross, was no other than the "Crux Ansata," or "Sign of life," borne by Osiris and all the Egyptian gods; and the ansa or "handle" was afterwards dispensed with, and that it became the simple Tau, or ordinary cross, as it appears at this day, and that the design of its first employment on the sepulchres, therefore, could have no reference to the crucifixion of the Nazarene, but was simply the result of the attachment to old and long-cherished Pagan symbols, which is always strong in those who, with the adoption of the Christian name and profession, are still, to a large extent, Pagan in heart and feeling. This, and this only, is the origin of the worship of the "cross.

They say that was the precise time from which children became less obedient to their parents, discipline in industry deteriorated and the revenue from sales of alcoholic beverages to the public increased, along with the number of abortions and the frequency of violent crimes threatening the lives, honor and property of citizens. Of course, even before then for domestic reasons and on public holidays, the residents of Dolgov had stuck knives in each other, run each other through with pitchforks and beaten each other to death with fence poles, but all that had merely been the observance of old local customs.

Then came the British Museum Massacre. Two thousand culture fans gassed with dichlorethyl sulphide. In the end, the Controllers realized that force was no good. The slower but infinitely surer methods of ectogenesis, Neo-Pavlovian conditioning and hypnopaedia. The discoveries of Pfitzner and Kawaguchi were at last made use of. An intensive propaganda against vivaparous reproduction accompanied by a campaign against the Past; by the closing of museums, the blowing up of historical monuments (luckily most of them had already been destroyed during the Nine Years' War); by the suppression of all books published before A.F. 150. There were some things called pyramids, for example and a man called Shakespeare. There was a thing called Christianity, the ethics and philosophy of under-consumption which was essential when there was under-production. But in an age of machines and the fixation of nitrogen they are positively a crime against society. All crosses had their tops cut and became T's. There was also a thing called God. We have the World State now. And Ford's Day celebrations, and Community Sings, and Solidarity Services. There was a thing called Heaven; but all the same they used to drink enormous quantities of alcohol. Like meat, like so much meat. There was a thing called the soul and a thing called immortality but they used to take morphia and cocaine. Two thousand pharmacologists and bio-chemists were subsidized in A.F. 178. Six years later it was being produced commercially. The perfect drug. Euphoric, narcotic, pleasantly hallucinant. All the advantages of Christianity and alcohol; none of their defects. Take a holiday from reality whenever you like, and come back without so much as a headache or a mythology. It only remained to conquer old age. Gonadal hormones, transfusion of young blood, magnesium salts. All the physiological stigmata of old age have been abolished. And along with them, of course all the old man's mental peculiarities. Work, play – at sixty our powers ans tastes are what they were at seventeen. Old men in the bad old days used to renounce, retire, take to religion, spend their time reading, thinking – thinking!

This is for the kids who die, Black and white, For kids will die certainly. The old and rich will live on awhile, As always, Eating blood and gold, Letting kids die. Kids will die in the swamps of Mississippi Organizing sharecroppers Kids will die in the streets of Chicago Organizing workers Kids will die in the orange groves of California Telling others to get together Whites and Filipinos, Negroes and Mexicans, All kinds of kids will die Who don't believe in lies, and bribes, and contentment And a lousy peace. Of course, the wise and the learned Who pen editorials in the papers, And the gentlemen with Dr. in front of their names White and black, Who make surveys and write books Will live on weaving words to smother the kids who die, And the sleazy courts, And the bribe-reaching police, And the blood-loving generals, And the money-loving preachers Will all raise their hands against the kids who die, Beating them with laws and clubs and bayonets and bullets To frighten the people— For the kids who die are like iron in the blood of the people— And the old and rich don't want the people To taste the iron of the kids who die, Don't want the people to get wise to their own power, To believe an Angelo Herndon, or even get together Listen, kids who die— Maybe, now, there will be no monument for you Except in our hearts Maybe your bodies'll be lost in a swamp Or a prison grave, or the potter's field, Or the rivers where you're drowned like Leibknecht But the day will come— You are sure yourselves that it is coming— When the marching feet of the masses Will raise for you a living monument of love, And joy, and laughter, And black hands and white hands clasped as one, And a song that reaches the sky— The song of the life triumphant Through the kids who die.

You must release your old self into the fire of your vision and be willing to think in a way you have never even tried before. You must mourn the loss of your younger self, the person who has gotten you this far but who is no longer equipped to carry you onward. You must envision and become one with your future self, the hero of your life that is going to lead you from here. The task in front of you is silent, simple, and monumental. It is a feat most do not ever get to the point of attempting. You must now learn agility, resilience, and self-understanding. You must change completely, never to be the same again.

The path dips down to Gal Vihara: a wide, quiet, hollow, surrounded with trees. A low outcrop of rock, with a cave cut into it, and beside the cave a big seated Buddha on the left, a reclining Buddha on the right, and Ananda, I guess, standing by the head of the reclining Buddha. In the cave, another seated Buddha. The vicar general, shying away from "paganism." hangs back and sits under a tree reading the guidebook. I am able to approach the Buddhas barefoot and undisturbed, my feet in wet grass, wet sand. Then the silence of the extraordinary faces. The great smiles. Huge and yet subtle. Filled with every possibility, questioning nothing, knowing everything, rejecting nothing, the peace not of emotional resignation but of Madhyamika, of sunyata, that has seen through every question without trying to discredit anyone or anything - without refutation - without establishing some other argument. For the doctrinaire, the mind that needs well-established positions, such peace, such silence, can be frightening. I was knocked over with a rush of relief and thankfulness at the obvious clarity of the figures, the clarity and fluidity of shape and line, the design of the monumental bodies composed into the rock shape and landscape, figure, rock and tree. And the sweep of bare rock sloping away on the other side of the hollow, where you can go back and see different aspects of the figures. Looking at these figures I was suddenly, almost forcibly, jerked clean out of the habitual, half-tied vision of things, and an inner clearness, clarity, as if exploding from the rocks themselves, became evident and obvious. The queer evidence of the reclining figure, the smile, the sad smile of Ananda standing with arms folded (much more "imperative" than Da Vinci's Mona Lisa because completely simple and straightforward). The thing about all this is that there is no puzzle, no problem, and really no "mystery." All problems are resolved and everything is clear, simply because what matters is clear. The rock, all matter, all life, is charged with dharmakaya... everything is emptiness and everything is compassion. I don't know when in my life I have ever had such a sense of beauty and spiritual validity running together in one aesthetic illumination. Surely, with Mahabalipuram and Polonnaruwa my Asian pilgrimage has come clear and purified itself. I mean, I know and have seen what I was obscurely looking for. I don't know what else remains but I have now seen and have pierced through the surface and have got beyond the shadow and the disguise. This is Asia in its purity, not covered over with garbage, Asian or European or American, and it is clear, pure, complete. It says everything: it needs nothing. And because it needs nothing it can afford to be silent, unnoticed, undiscovered. It does not need to be discovered. It is we, Asians included, who need to discover it. The whole thing is very much a Zen Garden, a span of bareness and openness and evidence, and the great figures, motionless, yet with the lines in full movement, waves of vesture and bodily form, a beautiful and holy vision. The rest of the "city", the old palace complex, I had no time for. We just drove around the roads and saw the ruined shapes, and started on the long drive home to Kandy.

She thought about how short a human lifespan was on a planet like this.  In a universe like this.  Seventy or eighty years against millions or even billions, making the span of a human life little more than a speck—at best, a momentary flash in time compared to things like a lake or an ocean, whose waves and ripples felt timeless, ambivalent of what floated on or within them.  It reminded Angela of the old saying that an ocean had no memory. In reality, the only true sense of time was born through human consciousness, with human lives being just a momentary flash within it.  So brief and so temporary, yet humans spent so much of their flash doing what?  Arguing and fighting.  Only to have their entire existence snuffed out seventy or eighty years later.  Sometimes sooner, sometimes later.  Everything they felt.  Everything they thought about or loved.  Gone into the ether.

In taking 'anarchy' for our ideal of political organization we are only giving expression to another marked tendency of human progress. Whenever European societies have developed up to a certain point, they have shaken off the yoke of authority and substituted a system founded more or less on the principles of individual liberty. And history shows us that these periods of partial or general revolution, when the old governments were overthrown, were also periods of sudden progress in both the economic and the intellectual field. So it was after the enfranchisement of the communes, whose monuments, produced by the free labour of the guilds, have never been surpassed; so it was after the great peasant uprising which brought about the Reformation and imperilled the papacy; and so it was again with the society, free for a brief space, which was created on the other side of the Atlantic by the malcontents from the Old World. And, if we observe the present development of civilized nations, we see, most unmistakably, a movement ever more and more marked tending to limit the sphere of action of the government, and to allow more and more liberty to the individual. This evolution is going on before our eyes, though cumbered by the ruins and rubbish of old institutions and old superstitions. Like all evolutions, it only awaits a revolution to overthrow the old obstacles which block the way, that it may find free scope in a regenerated society.

It was all there though: the decor, and the distribution of a moment when everything changed, a moment that still mattered even now—old friends betrayed, the new bestie, and the others forming the mild hell that she had wanted to escape, come what may. Ultimately, that photograph was merely a monument for the dead, a lie set in stone, the gravestone for her thirteen-year-old self.

Maybe you can’t see the potential here,” he said. “I’m going to impress you, in that case.” “I’m already impressed,” she said. “It looks like a monumental job. Where I grew up, there were a bunch of old cabins just like this, out on the beach. I was a teenager. They were almost never in use and the local kids used to sneak in. To smoke pot and…other stuff. Then one day they were gone. Razed.” “When you were a teenager,” he said, shoving the rag back into his pocket. “Last week?” “Hey,” she laughed. “I’m talking ten years ago.” “In which case, you don’t age.” “Why don’t you just ask?” she challenged him. “Okay. How old are you? Exactly?” “Twenty-five. And you?” “One hundred and ten.” She laughed again. When she did, she threw her head back and that braid rippled down her back. “Yeah, I thought you were probably really old. How old?” “Thirty-eight. Pretty well out of your range.” “That depends,” she said with a shrug. “On?” “On whether I have a range.” Oh God, he thought weakly. She liked him. Not a little teasing, but private flirting, just between the two of them. Luke was a man with few scruples and even less control. It wasn’t a good idea for her to do this. She was too alluring for her own good.

When the Spanish missionaries first set foot upon the soil of America, in the fifteenth century, they were amazed to find that the cross was as devoutly worshiped by the red Indians as by themselves. The hallowed symbol challenged their attention on every hand, and in almost every variety of form. And, what is still more remarkable, the cross was not only associated with other objects corresponding in every particular with those delineated on Babylonian monuments; but it was also distinguished by the Catholic appellations, "the tree of subsistence," "the wood of health," "the emblem of life,

Driving through the “Túnel de la Bahía,” which was started two years after I was in Havana last, was completed in 1958 by the French company “French Societé des Grand Travaux de Marseille.” The 2,405 foot long tunnel takes you to the eastern side of the entrance of Havana harbor, on the “Via Monumental highway” located just behind the famous Morro Castle. Continuing east along Cuba’s northern coast through the rather grim Pan Americana, a Russian style housing development, on the Carretera Del Morro, brings you to “Cojimar,” one of the most charming Cuban towns near Havana. This picturesque fishing village is where Hemingway docked his boat “El Pilar” and was the inspiration for one of his most famous books, “The Old Man and the Sea.” It is said that the old man referred to in his book, was Gregorio Fuentes, a resident of Cojimar.

There is no word to describe exactly what the High Line is to the non-architects among us, nor the collective reframing process required to see beyond its dingy path. 24 The promenade’s landscaping and minimal architectural interference is meant to find a balance between “melancholia and exuberance,” Diller told me. “Whatever that intermediate thing is, it’s ineffable and is kind of what makes the High Line so popular.” “Part of what is so successful about the High Line is that it looks like it’s about nothing,” Diller said. Everything is prohibited on the promenade but the act of moving forward or stopping to look at the vistas from that vantage point. A dedicated place for strolling, where there are no dogs, no bicycles, or wheeled objects of any kind, it is “radically old fashioned,” designed to let us do what we ordinarily don’t, like taking time to linger and gaze at passing traffic. There is even a “sunken overlook” viewing station with movie-theater-style rows of descending seats and a window instead of a screen to see Tenth Avenue’s traffic instead of a featured film. Looking at the path beneath our feet and the view before us are the High Line’s activities. The High Line’s path will extend up the island in nearly interminable stages, “perpetually unfinished.” 25 As if to underscore it, on the west-facing side of the High Line, with views of the skyline and the Hudson River, sculptor Anatsui erected a monumental mural, Broken Bridge II, a three-dimensional painting the size of a city block made of flattened, dull-finish tin and mirrors with expert placement and hours of scaling. The vista in its upper reaches blends sky and land “in such a way that you do not know where mirrors end and sky begins.” 26 Anatsui, known for his radiant, monumental murals with a unique luster, fashioned as they are out of recycled metal bottle caps from his studio in Nigeria, starts his work from an approximate center with exquisite discards. He then builds outward, unscrolling the once-scattered shards so that they shine in their new form, as if they could unfurl to the full extent of vision.

Death is not a merciful conclusion but a border crossing into a new land that could be more beautiful and majestic than the tallest mansion. Faith, courage, and hope are the characteristics that create happiness. They will stand as remembered monuments for all those left around the bed, and they are the qualities I will strive to obtain. —From the journal of Cale Shaffer, dated September 7, 1992, written when he was eighteen years old

In Christianizing these Pagan temples, free use was made of the sculptured and painted stones of heathen monuments. In some cases they evidently painted over one name, and inserted another. This may be seen from the following Inscriptions Formerly in Pagan Temples. and Inscriptions now in Christian Churches. 1. To Mercury and Minerva, Tutelary Gods.   1. To St. Mary and St. Francis, My Tutelaries. 2. To the Gods who preside over this Temple.   2. To the Divine Eustrogius, who presides over this Temple.

Slave-trading seems to have been coeval with the knowledge of iron. The monuments of Egypt show that this curse has venerable antiquity. Some people say, "If so ancient, why try to stop an old established usage now?" Well, some believe that the affliction that befel the most ancient of all the patriarchs, Job, was small-pox. Why then stop the ravages of this venerable disease in London and New York by vaccination?

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

Pericles’ speech is not only a programme. It is also a defence, and perhaps even an attack. It reads, as I have already hinted, like a direct attack on Plato. I do not doubt that it was directed, not only against the arrested tribalism of Sparta, but also against the totalitarian ring or ‘link’ at home; against the movement for the paternal state, the Athenian ‘Society of the Friends of Laconia’ (as Th. Gomperz called them in 190232). The speech is the earliest33 and at the same time perhaps the strongest statement ever made in opposition to this kind of movement. Its importance was felt by Plato, who caricatured Pericles’ oration half a century later in the passages of the Republic34 in which he attacks democracy, as well as in that undisguised parody, the dialogue called Menexenus or the Funeral Oration35. But the Friends of Laconia whom Pericles attacked retaliated long before Plato. Only five or six years after Pericles’ oration, a pamphlet on the Constitution of Athens36 was published by an unknown author (possibly Critias), now usually called the ‘Old Oligarch’. This ingenious pamphlet, the oldest extant treatise on political theory, is, at the same time, perhaps the oldest monument of the desertion of mankind by its intellectual leaders. It is a ruthless attack upon Athens, written no doubt by one of her best brains. Its central idea, an idea which became an article of faith with Thucydides and Plato, is the close connection between naval imperialism and democracy. And it tries to show that there can be no compromise in a conflict between two worlds37, the worlds of democracy and of oligarchy; that only the use of ruthless violence, of total measures, including the intervention of allies from outside (the Spartans), can put an end to the unholy rule of freedom. This remarkable pamphlet was to become the first of a practically infinite sequence of works on political philosophy which were to repeat more or less, openly or covertly, the same theme down to our own day. Unwilling and unable to help mankind along their difficult path into an unknown future which they have to create for themselves, some of the ‘educated’ tried to make them turn back into the past. Incapable of leading a new way, they could only make themselves leaders of the perennial revolt against freedom. It became the more necessary for them to assert their superiority by fighting against equality as they were (using Socratic language) misanthropists and misologists—incapable of that simple and ordinary generosity which inspires faith in men, and faith in human reason and freedom. Harsh as this judgement may sound, it is just, I fear, if it is applied to those intellectual leaders of the revolt against freedom who came after the Great Generation, and especially after Socrates. We can now try to see them against the background of our historical interpretation.

There’s a movement afoot. Can you feel it? It’s a monumental shift back to fresh, old-fashioned, real food.

monstrosities of tall "monuments" and draped urns. One of the latter, the biggest and ugliest in the graveyard, was sacred to the memory of a certain Alec Davis who had been born a Methodist but had taken to himself a Presbyterian bride of the Douglas clan. She had made him turn Presbyterian and kept him toeing the Presbyterian mark all his life. But when he died she did not dare to doom him to a lonely grave in the Presbyterian graveyard over-harbour. His people were all buried in the Methodist cemetery; so Alec Davis went back to his own in death and his widow consoled herself by erecting a monument which cost more than any of the Methodists could afford. The Meredith children hated it, without just knowing why, but they loved the old, flat, bench-like stones with the tall grasses growing rankly about them. They made jolly seats for one thing. They were all sitting on one now. Jerry, tired of leap frog, was playing on

There is more to America’s past than appears on the surface. A strange unrest is apparent among many of the younger historians and archaeologists of the colleges and universities, a sense that somehow a very large slice of America’s past has mysteriously vanished from our public records. For how else can we explain the ever-swelling tally of puzzling ancient inscriptions now being reported from nearly all parts of the United States, Canada, and Latin America?...These inscriptions are written in various European and Mediterranean languages in alphabets that date from 2,500 years ago, and they speak not only of visits by ancient ships, but also of permanent colonies of Celts, Basques, Libyans, and even Egyptians – Barry Fell (America BC) Lewis Spence, one of the latest writers on the subject, concludes that the Toltec and Maya civilizations never originated on American soil but appeared there full blown, with a well-defined art and system of hieroglyphic writing which possesses affinities with the Egyptian – Comyns Beaumont (The Riddle of Prehistoric Britain) There seems little doubt but that the Irish had intercourse with America far earlier than any definite records, nor would it be surprising in view of the comparative proximity of the two – ibid As to so-called Druidical monuments, no argument can be drawn thence, as to the primary seat of this mysticism, since they are to be seen nearly all over the world – James Bonwick (Irish Druids and Old Irish Religions, 1894)

Because of the mineral salts they contain, bones last long after death and provide an enduring “monument.” In fact, skeletal remains many centuries old can still reveal the shapes and sizes of ancient peoples, the kinds of work they did, and many of the ailments they suffered, such as arthritis. Growth arrest lines, horizontal lines on long bones, provide visible proof of illness when the body uses nutrients to fight disease and the bones stop growing.

Though other cultures-like the Sumerian, the Mayan, and the Indic-coupled human destiny with long vistas of abstract calendar time, the essential contribution of the Renascence was to relate the cumulative results of history to the variety of cultural achievements that marked the successive generations. By unburying statues, monuments, buildings, cities, by reading old books and inscriptions, by re-entering a long-abandoned world of ideas, these new explorers in time became aware of fresh potentialities in their own existence. These pioneers of the mind invented a time-machine more wonderful than H.G. Wells' technological contraption. At a moment when the new mechanical world-picture had no place for 'time' except as a function of movement in space, historic time-duration, in Henri Bergson's sense, which includes persistence through replication, imitation, and memory-began to play a conscious part in day-to-day choices. If the living present could be visibly transformed, or at least deliberately modified from Gothic to a formalized Classic structure, so could the future be remolded, too. Historic time could be colonized and cultivated, and human culture itself became a collective artifact. The sciences actually profited by this historic restoration, getting a fresh impetus from Thales, Democritus, Archimedes, Hero of Alexandria.

Together, they were legend tripping, the age old practice of visiting strange locations of urban myths. Places such as the Baird chair monument, the Screaming Beaches, or the Spider Gates Cemetery. Popular sites frequently visited by tour groups or rowdy teenagers, locations with a history of the tragic, the horrific, or just plain old supernatural acclaim

The pattern’s been the same forever: They come, they build, maybe they teach. There’s a brief period of maturity, sufficient that later cultures don’t understand how the growth could even be possible. Then, all at once, there’s a reset. Those advanced cultures — Egyptians, Mayans, and on and on — vanish, leaving a handful of dumb ancestors who grow up able to do none of the things the old cultures could.” He raised a hand and ticked off points. “Not just the megaliths, but monuments like the Nazca lines, Sanskrit texts describing Vimanas and other obviously flying craft, the writings in the Zohar of the manna machine, the list goes on. Maybe past visitors have just wiped memories and destroyed records to erase all this knowledge instead of invoking a mass extinction, but then why do we sometimes hear the Ark of the Covenant described as if it were a radiation weapon?

The Danube was flowing past him on its calm, even course from north to south, not especially blue, but wide and majestic and indubitably very beautiful. On the other side of the river rose two softly curved hills crowned by a monument and a walled fortress. Houses clambered only hesitantly along the sides of the hills, but farther away were other hills strewn with villas. That was the famous Buda side, then, and there you were very close to the heart of central European culture. Martin Beck let his glance roam over the panoramic view, absently listening to the wingbeats of history. There the Romans had founded their mighty settlement Aquincum, from there the Hapsburg artillery had shot Pest into ruins during the War of Liberation of 1849, and there Szalasis’ fascists and Lieutenant General Pfeffer-Wildenbruch’s SS troops had stayed for a whole month during the spring of 1945, with a meaningless heroism that invited annihilation (old fascists he had met in Sweden still spoke of it with pride). Immediately

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

In the workday world, complainers will not go far. When someone asks how you are doing, you had better be wise enough to reply "I can't complain." If you do complain, even justifiably, people will stop asking how you are doing. Complaining will not help you succeed and influence people. You can complain to your physician or psychiatrist because they are paid to hear you complain. But you cannot complain to your boss or your friends, if you have any. You will soon be dismissed from your job and dropped from the social register. Then you will be left alone with your complaints and no one to listen to them gratis. Perhaps then the message will sink into your head: If you do not feel good enough for long enough, you should act as if you do and even think as if you do. That is the way to get yourself to feel good for long enough and stop you from complaining for good, as any self-improvement book can affirm. But should you not improve, someone must assume the blame. And that someone will be you. This is monumentally so if you are a pessimist or a depressive. Should you conclude that life is objectionable or that nothing matters, do not waste our time with your nonsense. We are on our way to the future, and the philosophically disheartening or the emotionally impaired are not going to hinder our progress. If you cannot say something positive, or at least equivocal, keep it to yourself. Pessimists and depressives need not apply for a position in the enterprise of life. You have two choices: Start thinking the way God and your society want you to think or be forsake by all. The decision is yours, since you are a free agent who can choose to rejoin our fabricated reality or stubbornly insist on... what? That we should mollycoddle non-positive thinkers like you or rethink how the whole world transacts it's business? That we should start over from scratch? Or that we should go extinct? Try to be realistic. We did the best we could with the tools we had. After all, we are only human, as we like to say. Our world may not be in accord with nature's way, but it did develop organically according to our consciousness , which delivered us to a lofty prominence over the Creation. The whole thing just took on a life of its own, and nothing is going to stop it anytime soon. There can be no starting over and no going back. No major readjustments are up for a vote. And no melancholic head-case is going to bad-mouth our catastrophe. The universe was created by the Creator, by damn. We live in a country we love and that loves us back, We have families and friends and jobs that make it all worthwhile. We are somebodies, not a bunch of nobodies without names or numbers or retirement plans. None of this is going to be overhauled by a thought criminal who contends that the world is not double-plus-good and never will be. Our lives may not be unflawed, that would deny us a better future to work towards but if this charade is good enough for us, then it should be good enough for you. So if you cannot get your mind right, try walking away. You will find no place to go and no one who will have you. You will find only the same old trap the world over. Lighten up or leave us alone. You will never get us to give up our hopes. You will never get us to wake up from our dreams. We are not contradictory beings whose continuance only worsens our plight as mutants who embody the contorted logic of a paradox. Such opinions will not be accredited by institutions of authority or by the middling run of humanity. To lay it on the line, whatever thoughts may emerge from your deviant brain are invalid, inauthentic, or whatever dismissive term we care to hang on you, who are only "one of those people." So start pretending that you feel good enough for long enough, stop your complaining, and get back in line.

It was like this: I asked myself one day this question—what if Napoleon, for instance, had happened to be in my place, and if he had not had Toulon nor Egypt nor the passage of Mont Blanc to begin his career with, but instead of all those picturesque and monumental things, there had simply been some ridiculous old hag, a pawnbroker, who had to be murdered too to get money from her trunk (for his career, you understand). Well, would he have brought himself to that if there had been no other means? Wouldn't he have felt a pang at its being so far from monumental and... and sinful, too? Well, I must tell you that I worried myself fearfully over that 'question' so that I was awfully ashamed when I guessed at last (all of a sudden, somehow) that it would not have given him the least pang, that it would not even have struck him that it was not monumental... that he would not have seen that there was anything in it to pause over, and that, if he had had no other way, he would have strangled her in a minute without thinking about it! Well, I too... left off thinking about it... murdered her, following his example. And that's exactly how it was! Do you think it funny? Yes, Sonia, the funniest thing of all is that perhaps that's just how it was.

do it? Can you look into that young girl’s eyes and convince her that Robert E. Lee is there to encourage her? Do you think she will feel inspired and hopeful by that story? Do these monuments help her see a future with limitless potential? Have you ever thought that if her potential is limited, yours and mine are, too? We all know the answer to these very simple questions. When you look into this child’s eyes is the moment when the searing truth comes into focus for us. This is the moment when we know what is right and what we must do. We can’t walk away from this truth. And I knew that taking down the monuments was going to be tough, but you elected me to do the right thing, not the easy thing, and this is what that looks like. So relocating these Confederate monuments is not about taking something away from someone else. This is not about politics, this is not about blame or retaliation. This is not a naïve quest to solve all our problems at once. This is, however, about showing the whole world that we as a city and as a people are able to acknowledge, understand, reconcile, and most importantly, choose a better future for ourselves, making straight what has been crooked and making right what was wrong. Otherwise, we will continue to pay a price with discord, with division, and yes, with violence. To literally put the Confederacy on a pedestal in our most prominent places of honor is an inaccurate recitation of our full past, it is an affront to our present, and it is a bad prescription for our future. History cannot be changed. It cannot be moved like a statue. What is done is done. The Civil War is over, and the Confederacy lost and we are better for it. Surely we are far enough removed from this dark time to acknowledge that the cause of the Confederacy was wrong. And in the second decade of the twenty-first century, asking African Americans—or anyone else—to drive by property that they own occupied by reverential statues of men who fought to destroy the country and deny that person’s humanity seems perverse and absurd. Centuries-old wounds are still raw because they never healed right in the first place. Here is the essential truth: We are better together than we are apart. Indivisibility is our essence. Isn’t this the gift that the people of New Orleans have given to the world? We radiate

I asked myself one day this question—what if Napoleon, for instance, had happened to be in my place, and if he had not had Toulon nor Egypt nor the passage of Mont Blanc to begin his career with, but instead of all those picturesque and monumental things, there had simply been some ridiculous old hag, a pawnbroker, who had to be murdered too to get money from her trunk (for his career, you understand).

When will they stop following leaders who build their monuments out of millions of human skulls?” The son of Budd-Erling was perhaps the least happy man in that famous old church at the moment. He had little admiration for Napoleon Bonaparte, and still less for his Austrian imitator.

Now the old, scrawny man lay silently on his bed, keeping to himself, lost in what few memories he still had left.

I loved you little by little! Little by little and bit by bit, I came to love you under the skies star lit, Far or near you always seemed within reach, Where every moment exclusively of your beauty and your sweet memories did preach, In moments new and old, Your memories on the horizon of mind shone like the sky of gold, Moments sad and pensive, all moments, It was just your image that rose from time’s all monuments, In summers warm and winters cold, The only wish that persisted, was the wish to always behold and hold, Just you, you in the brightness of the day and in the darkness of the night, And feel your kisses like the kiss of love’s light, In everything and in nothing too, My wish Irma, has always been to find you, just you, And the sky that spreads from north to south and east to west, I have always focused my direction on you, because you are my mind’s and my heart’s only quest, In those points where high is defined and deep is felt, My feelings wish to either rise, or just sink, always and only with you to melt, In the sky with the stars or the Sun, I care for nothing, just you and me, and our feelings that shall unite us as one, In my moments of belief and in my moments of hopelessness, Come what may, my mind never quits thinking about our togetherness, Maybe this is what love does to a human heart, I may not know, Because my love Irma, my mind and heart is busy basking in your beautiful memories and your beauty’s endless glow, So whether I am in Heaven or Hell, I know I shall love you always, and so very well, that no one, not even you can fathom or tell!

What they’ve produced here is a meticulous reconstruction of a sensational, forgotten crime, the investigation that followed, and its aftermath on the Capital region—over a century later—all rendered as gripping and immediate as an episode of Law and Order: SVU. It is also a relentless search for answers and justice, not only for Hazel Drew but for all the women who continue to fall victim to this monstrous plague of violence. It is, we now know, a crime as old as time. I think of her whenever I pass Teal’s Pond. The ripples this murder created in that still water have continued to radiate around the world for a hundred years. For all of our Hazels and Susans and Lauras, this book is a monument of remembrance to their lost and stolen lives. Mark Frost, cocreator of Twin Peaks

Caught in the shine of the monument's floodlights, Foot, with his long white hair, looked like an Old Testament prophet.

Depressive realism has a very impressive pedigree. The Buddha pronounced that “all life is suffering” about 2,500 years ago, at roughly the time when the original Greek tragedies were composed. The Old Testament writers and prophets bequeathed us the concepts of human evil, sin, and the Fall, all this stemming from about the 5th century BCE when Adam behaved badly and doomed us all to suffering and death. From Paul through Augustine and Aquinas we have inherited the concept of original sin. The idea that we live in a “vale of tears” is probably from a Catholic hymn. Shakespeare put the phrases “to be or not to be” and “shuffle off our mortal coil” in Hamlet’s mouth in 1603. Robert Burton’s monumental The Anatomy of Melancholy was published in 1621 and George Cheyne’s The English Malady in 1733. DR is hardly a wacky modern idea owing its existence to Enlightenment- denying pessimists or to 20th century existentialists.

The most famous such monument, a stela called ‘El Lanzón’ (‘the lance’), is a shaft of granite over thirteen feet tall, around which the Old Temple of Chavín was constructed. A well-lit replica of the stela, often assumed to represent a god who is also the axis mundi, or a central pillar connecting the polar ends of a shamanic universe, has pride of place in Peru’s Museo de la Nación; but the 3,000-year-old original still resides at the heart of a darkened maze, illuminated by thin slats, where no single viewer could ever grasp the totality of its form or meaning.

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

War ends at the moment when peace permanently wins out. Not when the articles of surrender are signed or the last shot is fired, but when the last shout of a sidewalk battle fades, when the next generation starts to wonder whether the whole thing ever really happened. World War II ended as war always ends -- by trailing off into nothingness and doubt. Its final monument has never been seen by mortal eyes. It's a phantom image at the edge of a rumor: an unmarked grave in the depths of the South American jungle where a weird and decrepit old man, half forgotten by the world, at last entered the lists of oblivion.

In our human imagination, we so often perceive our heroes to be something larger than life. We exalt them in ways that do them disservice. We make them to be almost plastic in our imaginations. And when they bleed or grow old or stumble, we either cast them aside or find some way to perpetuate the myth. To sustain this illusion in our minds, we build statues and erect monuments, and artists paint them with haloes to establish their surreal personae. We convince ourselves that they are or were something essentially different from the rest of us. This

Endow your monuments according to your wealth. Even one day gives to eternity, An hour contributes to the future, God recognizes him who works for him.

Let us not seek the right answer. Let us not seek to fix the blames for the past. Let us not try to change the history or names of roads or old monuments. Let us just accept our own responsibility for the future.

It's not unreasonable [...] to suppose that some kind of cosmic "sky-ground" religion lay behind the alignments to the solstices and the equinoxes at Watson Brake and at the other early sites--a religion sufficiently robust to ensure the continuous successful transmission of a system of geometry, astronomy, and architecture over thousands of years. John Clark is in no doubt. 'The evidence,' he says, 'suggests very old and widely disseminated knowledge about how to build large sites. The building lore persisted remarkably intact for so long that I think we can, and must, assume that it was part of special knowledge tied to ritual practice.' Where did this special knowledge come from before it appeared at Watson Brake?

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

As I studied the e-mail from Glenn Milne, I knew just how ancient the U-shaped structure [found a few kilometers away from the Indian coast] really might be - at least 11,000 years old. That's 6000 years older than the first monumental architecture of ancient Egypt or of ancient Sumer in Mesopotamia - traditionally thought of as the oldest civilizations of antiquity. Certainly, no civilization known to history existed in southern India - or anywhere else - 11,000 years ago. Yet the U-shaped structure off the Tranquebar-Poompuhur coast invites us to consider the possibility that it was the work of a civilization that archaeologists have as yet failed to identify - one whose primary ruins could have been missed because they are submerged so deep beneath the sea.

In North America the evidence is that hunter-gatherers bounced back quite successfully within less than a millennium of the onset of the Younger Dryas, and thereafter there is a thin but fairly continuous archaeological record. What is mysterious is not so much the early appearance of mound-building in this new age--perhaps as early as 8,000 years ago, as we've seen--or the sophistication of sites such as Watson Brake 5,500 years ago, nor even their obvious astronomical and geometrical connections to later vast earthworks such as Moundville and Cahokia, but that in this early monumental architecture of the New World memes of geometry, astronomy, and solar alignments consistently appear that are also found in the early monumental architecture of the Old World at iconic sites such as Stonehenge and the Great Pyramid of Giza. A tremendous leap forward in agricultural know-how, coupled with the sudden uptake of eerily distinctive spiritual ideas concerning the afterlife journey of the soul, also often accompanies the architectural memes. It's therefore hard to avoid the impression that some kind of 'package' is involved here.

He that looks for urns and old sepulchral relicks, must not seek them in the ruins of temples, where no religion anciently placed them. These were found in a field, according to ancient custom, in noble or private burial; the old practice of the Canaanites, the family of Abraham, and the burying-place of Joshua, in the borders of his possessions; and also agreeable unto Roman practice to bury by highways, whereby their monuments were under eye:--memorials of themselves, and mementoes of mortality unto living passengers; whom the epitaphs of great ones were fain to beg to stay and look upon them,--a language though sometimes used, not so proper in church inscriptions.

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

Does this car have Bluetooth?” Oliver chuckles. “Yes, Princess Estelle, is it up to par with your inspection?” I stop moving my hand over the dash and set it back on my lap, feeling a blush creep into my face. “I liked your old car better,” I say. Oliver’s eyebrows hike up and he turns to gape at me. “You like my beat-up Maxima better than this?” I shrug. “It was more cozy. This reminds me of the Batmobile, and there’s nothing wrong with the Batmobile, but I like cozy.” He shakes his head and mutters something under his breath, but starts to look for my phone to hook up to Bluetooth. He already knows it’s because I want to play my own music—I don’t even have to explain. I used to bring my own CD whenever I was in the car with him. Oliver listens to two things: heavy rock and rap, and while I’m okay with both, I prefer the classics. The Steve Miller Band hasn’t even gotten to the hook before they’re interrupted by a call from Mia. Oliver looks at me with a question in his eyes. “If you don’t mind,” I say. He presses the button, and before I say hello, Mia’s frantic voice comes through. “What underwear are you wearing?” she asks. My face goes hot for the second time this morning. From the corner of my eye, I see Oliver bite down on his lip. “What?” I ask. “Mia, you’re on speaker phone!” “I don’t care. This is an emergency. Do you not hear the shrill tone in my voice? What are you wearing under your clothes?” My eyes snap to the side of Oliver’s face, then out the front window, and finally, I pull my shirt slightly and look down, because I completely forgot what underwear I have on. “Can you disconnect the phone?” I say to Oliver, who shakes his head in refusal. “Please. This is like . . . monumentally embarrassing.” “Just answer,” he whispers. “Who’s that?” Mia asks. “Oliver. We’re in his car, and you’re on the fucking Bluetooth.” She laughs. “Oh my God! I am so sorry, Bean!” “What?” I shout. “He’s not the one being harassed!” “Oh, but now he is. So tell me—underwear?” “White lace bra and matching boy shorts,” I say, almost through my teeth, not missing the way Oliver’s eyes snap to me with an approving look. I want to slap him for it, but I know nothing good would come of that, so I just cross my arms over my chest like a petulant child.

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

The sight of this unexpected monument put at rest at once and for ever in our minds all uncertainty in regard to the character of American antiquities… proving, like newly discovered historical records, that the people who once occupied the continent of America were not savages.” The people—named the Maya—who had built this sprawling city of pyramids and temples, and who had covered their monuments with hieroglyphic writing, had created a civilization as advanced as any in Old World antiquity.

There is a scene in the movie The Assassination of Jesse James by the Coward Robert Ford. At the beginning, in the woods, Robert Ford, played by Casey Affleck, illustrates this phenomenon. He thinks the outlaw Jesse James is a great man. He thinks that he, himself, is a great man, too. He wants someone to recognize that in him. He wants someone to give him an opportunity—a project through which he can prove his worth. It just happens that Frank James would size the delusional, awkward boy up in the woods outside Blue Cut, Missouri: “You don’t have the ingredients, son.” In contrast, Mr. A is ambitious, but it’s paired with self-confidence, social adeptness, and a clear sense of what Thiel wanted. Even so, the prospect of meeting with Thiel is intimidating: his stomach churning, every nerve and synapse alive and flowing. He’s twenty-six years old. He’s sitting down for a one-on-one evening with a man worth, by 2011, some $ 1.5 billion and who owns a significant chunk of the biggest social network in the world, on whose board of directors he also sits. Even if Thiel were just an ordinary investor, dinner with him would make anyone nervous. One quickly finds that he is a man notoriously averse to small talk, or what a friend once deemed “casual bar talk.” Even the most perfunctory comment to Thiel can elicit long, deep pauses of consideration in response—so long you wonder if you’ve said something monumentally stupid. The tiny assumptions that grease the wheels of conversation find no quarter with Thiel. There is no chatting with Peter about the weather or about politics in general. It’s got to be, “I’ve been studying opening moves in chess, and I think king’s pawn might be the best one.” Or, “What do you think of the bubble in higher education?” And then you have to be prepared to talk about it at the expert level for hours on end. You can’t talk about television or music or pop culture because the person you’re sitting across from doesn’t care about these things and he couldn’t pretend to be familiar with them if he wanted to.

Gold was discovered on the Witwatersrand in the old Transvaal during the nineteenth century, and modern Johannesburg still has within its boundaries the huge white mine dumps that look like mini mountains. While the mine dumps were on the outskirts of the town years ago, the suburbs have since expanded around them and they lie there like monuments to a golden era.

The tradition based on the old Jewish bible recounting about how the Jews were used for forced labor and the construction of the great monuments of Egypt such as the Great Pyramids is impossible since these were created in the predynastic age, thousands of years before Abraham, the supposed first Jew, ever existed. Although this biblical notion is very limited in scope, the significant impact of Ancient Egypt on Hebrew and Christian culture is evident even from the biblical scriptures.

Producer Norman Macdonnell saw Fort Laramie as “a monument to ordinary men who lived in extraordinary times”: their enemies were “the rugged, uncharted country, the heat, the cold, disease, boredom, and, perhaps last of all, hostile Indians.” Men died at Fort Laramie: some died of drowning, some of freezing, some of typhoid and smallpox. “But it’s a matter of record,” Macdonnell said on the opening, “that in all the years the cavalry was stationed at Fort Laramie, only four troopers died of gunshot wounds.” The series was less intense, and far less known, than Macdonnell’s major western, Guns-moke: the stories focused as much on atmosphere and mood as on violence and action. The run of 40 shows is complete on tape in excellent quality. The star, Raymond Burr, went from obscurity to national prominence a year later, taking on the title role in TV’s Perry Mason.

In many ways, then, the history of the Cathedral of Christ the Savior is an allegory for the fate of religion and atheism under Soviet Communism. The Bolsheviks saw the destruction of the symbols of the old world as a powerful statement about their vision for the future. But while their destruction of religious spaces, symbols, and traditions clearly transmitted the antireligious message, it did little to strengthen the people’s bond to Soviet Communism. The fact that the cathedral had been destroyed ostensibly to make room for the Palace of Soviets, but that the palace never materialized, underscored the empty space that had been left behind. That the space remained empty for decades, only to be filled by a swimming pool—a space of modern leisure, but hardly a monument to the utopia promised by the revolution—speaks to Soviet atheism’s struggle to fill the empty space it had created with its own meaning.

There’s a great mystery in that cemetery, even deeper than the painful or tragic events that populated it. Inside its stone walls are the citizens of my town: they built the stores and mapped out the roads, put up electric lights, founded the hospital, and organized the public library. A few probably lived in my home at one time. They have made my life possible in more ways than I can count, yet we are entire strangers. . . . I do not take these silent neighbors for granted either. Sometimes, when all of the library staff have gone home, the lights are off, and I’m working alone at my desk, I think about them . . . . But most of the time, my feeling is more sadness than fear. It is hard to think about people who have lived full and eventful lives, only to end up as a faded name on a monument; it is even harder to realize that this will eventually happen to me and to all the people I love. My library shelves are full of forgotten books written by unknown people. It is an amazing fact, one that I sometimes contemplate with awe, that all of these books are connections with people now on the other side of mystery, surviving only as a name on a tattered binding. That’s one reason why I sometimes pause and say their names out loud, just to give the universe a chance to hear an old and beloved combination of words one more time. (pp. 100-101)

A heroic gentleman comes to mind, discovered during the research into this book, a Sir Henry Rawlinson , responsible for recording and decoding three languages he discovered in 1835 located 1700 feet above the desert floor chiseled into the cliffs of Behistun, in modern day Iran.  The historical marker was commissioned by Darius the 1st who lived and reigned from 522-486 BCE, recounting the Persian ruler’s suppression of various rival uprisings.  In 1835, Sir Henry Rawlinson, a British army officer training the army of the Shah of Iran, began studying the inscription in earnest. As the town of Bisistun's name was anglicized as "Behistun" at this time, the monument became known as the "Behistun Inscription". Despite its inaccessibility, Rawlinson was able to scale the cliff and copy the Old Persian inscription. The Elamite was across a chasm, and the Babylonian four metres above; both were beyond easy reach and were left for later.

Swaddling was considered essential by Tudor parents of all classes. It was an old practice. On tombs and monuments from at least the 14th century, babies were depicted tightly swaddled like little Egyptian mummies. Swaddling not only kept the children warm, but, contemporaries considered, ensure that their limbs grew straight.

For most, eating is never just about the food. The ways in which we eat are well-crafted, age-old rituals that are different for every culture. Emblematic edibles and significant meals are deeply embedded in festival programs. Selections of food and rituals are themselves symbols of power and evidence of social control.Food choices are always revealing, and their preperation and service vary greatly across time and cultures.

For most, eating is never just about the food. The ways in which we eat are well-crafted, age-old rituals that are different for every culture. Emblematic edibles and significant meals are deeply embedded in festival programs. Selections of food and rituals are themselves symbols of power and evidence of social control. Food choices are always revealing, and their preparation and service vary greatly across time and cultures.

Unlike Amartya Sen, who downplays the destructive religious evangelism of Muslim rule in India, he minces no words about what kind of impact it had. In an interview to the newspaper The Hindu in 1998, he said: ‘I think when you see so many Hindu temples of the tenth century or earlier disfigured, defaced, you realize that something terrible happened. I feel that the civilization of that world was mortally wounded by those invasions. The Old World was destroyed. Ancient Hindu India was destroyed.’14 Next year, he reiterated his views in an interaction with the magazine Outlook: ‘The millennium began with the Muslim invasions and the grinding down of the Hindu-Buddhist culture of the north. This is such a big and bad event that people have to find polite, destiny defying ways of speaking about it. In art books and history books, people write of the Muslims “arriving” in India, as though the Muslims came in a tourist bus and went away again. The Muslim view of their conquest of India is a truer one. They speak of the triumph of the faith, the destruction of the idols and the temples, the loot, the carting away of the local people as slaves. … The architectural evidence—the absence of Hindu monuments in the north—is convincing enough. The conquest was unlike any that had gone before. There are no Hindu records of this period. Defeated people never write their history.’15 In the same interview, Naipaul argues that the Muslim conquerors succeeded in ‘the grinding down of Hindu India’. The loot and plunder and destruction, and their religious hostility to non-believers, was not restricted to the original foreign invaders, but a feature of the entire period of Islamic rule.

They speak of the triumph of the faith, the destruction of the idols and the temples, the loot, the carting away of the local people as slaves. … The architectural evidence—the absence of Hindu monuments in the north—is convincing enough. The conquest was unlike any that had gone before. There are no Hindu records of this period. Defeated people never write their history.’15 In the same interview, Naipaul argues that the Muslim conquerors succeeded in ‘the grinding down of Hindu India’. The loot and plunder and destruction, and their religious hostility to non-believers, was not restricted to the original foreign invaders, but a feature of the entire period of Islamic rule. He cites the example of Vijayanagara in this context. ‘Let us consider two last dates. In 1565, a year after the birth of Shakespeare, Vijayanagara in the south is destroyed and its great capital city (Hampi) laid waste. In 1592, the terrible Akbar ravages Orissa in the east. This means that while a country like England is preparing for greatness under its great Queen, old India in its sixth century of retreat, is still being reduced to non-entity. The wealth and creativity, the artisans and architecture of the kingdom of Vijayanagara and Orissa must have been destroyed, their lights put out.’16 Naipaul’s larger point is that such depredations dealt a body blow to the creative impulses of the Hindu civilisation. ‘This is where we come face to face with the Indian calamity. When places like Vijayanagara and Orissa were laid low, all the creative talent would also have been destroyed. The current was broken. We have no means of knowing what architecture existed in the north before the Muslims. We can only be certain that there would have been splendours like Konark and Kanchipuram.’17 In an article in the UK newspaper, the Guardian, writer-historian William Dalrymple attempts to rebut Naipaul’s outspoken views. Naipaul’s ‘jaundiced’ view, he argues, was due to the influence of the ‘imperial historiography of Victorian Britain’, where the British sought to paint the Muslims as plunderers to bring out their own ‘civilizing mission’. Vijayanagara, he says, was ‘heavily Islamicised by the sixteenth century’. This can be inferred by the fact that ‘the Hindu kings of Vijayanagara appeared in public audience, not bare-chested as had been the tradition in Hindu India, but dressed in quasi-Islamic court costume’, symbolic, according to him—on the authority of American Sanskrit scholar, Philip Wagner—‘of their participation in the more universal culture of Islam’.

...what if Napoleon, for example, had been in my position, and instead of having a Toulon, and an Egypt, and a crossing of Mont Blanc to begin his career with, what if instead of all those beautiful and monumental things he had quite simply had nothing but an absurd old woman, a petty bureaucrat's widow, whom he was also going to have to murder, so he could steal all the money out of her chest...Don't you think that's amusing?

Another delay allowed a tour of the Isle of Wight; here Franklin heard the tale of a local governor who had been esteemed a saint in most of his lifetime by nearly all men, but who turned out to have been a great villain. What struck Franklin was that the man’s true character had been discerned by a “silly old fellow” Franklin met, who currently kept the castle and otherwise had little sense about life. The moral? No man, though he possessed the cunning of a devil, could live and die a rogue yet maintain the reputation of an honest man; some slip, some accident, would give him away. “Truth and sincerity have a certain distinguishing native lustre about them which cannot be perfectly counterfeited; they are like fire and flame that cannot be painted.” While on the subject of reputation, Franklin noted a statue of Sir Robert Holmes, formerly governor of Wight, who built a monument to himself, with an autobiographical, and highly flattering, inscription. Franklin observed wryly, “One would think either that he had no defect at all, or had a very ill opinion of the world, seeing he was so careful to make sure of a monument to record his good actions and transmit them to posterity.

The first lines of “The Ruin”, an Old English poem of the tenth century CE, describe old stones as “Wrætlic”. Usually translated as “wondrous”, Peter Ackroyd has read the line as “wraith-like”: “wraith-like is this native stone”. While the poem itself discusses the masonry of a crumbling Roman town, the phrase itself is certainly apt for thinking about the megalithic monuments that cover the British Isles. These native stones—stone circles, stone rows, standing stones (or menhirs), and dolmens—are indeed wraith-like, spectral, haunted. Standing for thousands of years within the landscape, their physical presence is evocative but their original purpose is tantalisingly vague. With no written records to inform us as to how and why they were initially built, they become a nexus for stories.

Fairies have been associated with barrows since the twelfth century, but some megaliths also have fae connections: stone circles and standing stones were thought to mark the entrance to their realm. For example, the King Stone from the Rollright Stones in Oxfordshire is said to mark the entrance to the fairy kingdom beneath the circle. The devil has made a more recent appearance. By the mid eighteenth century, Stukeley reports that the stones in the northern inner circle of Avebury (the Cove) were known as the Devil’s Brand-Irons, and that Stonehenge’s Heel Stone was created when “the devil threw it at the builders”. Many of these traditions which associated megalithic monuments with the devil were originally associated with giants, and only latterly with Old Nick himself, showing how associations change depending on historical and social contexts. And where the devil goes, so too do witches. Stone circles were thought to be sites where witches would meet to practise their infernal rites. Isobel Gowdie, a seventeenth-century Scottish woman accused of witchcraft, noted in her confession that her and other witches would shoot elf-arrows at “the standing-stanes” at Auldern, where the devil would “sit on a blak kist”, presumably the remains of the prehistoric ring-cairn that was once in the centre of the four stones.

After the Austrian Socialists were destroyed, Alfred Hayes composed a poem about Otto Bauer, their leader, who was even then hiding from the police: “All honor to them, Bauer! For you/ History prepares a shameful grave/ A nameless spot buried under weed and stone/ Where creeping jackals shall come to howl/ Stirred by ancient kinship with those bones!” To read that poem and to think that its author once gave his mother the pangs of birth is to understand why, if the Old Testament God and all his vengeance did not exist, man would have had to invent them.

Among all the enemies of the plebeian writer’s promise, none lasts longer than self-pity. In 1934, Dashiell Hammett brushed off Clifford Odets’ Awake and Sing with the observation that the arts had little to hope for in a man still weeping because he did not have a bicycle when he was twelve years old.

As Gardner Jackson entered Old South that night, he was stopped by Harry Canter, secretary of the Communist Party of Boston. “I just wanted you to know,” said Canter, “that tonight I’m going to call you one of the murderers of Sacco and Vanzetti. I hope you understand that inside I don’t really mean it.

The glow of the oil lamp had grown into a smoky light-ball, and Connie in her rocking-chair sat at the edge of it, Mother Russia herself, as they had called her in the Circus, her wasting face hallowed with reminiscence as she unfolded the story of just one of her unnumbered family of erring children. Whatever suspicions she was harbouring about Smiley’s motive in coming here, she had suspended them: this was what she had lived for; this was her song, even if it was her last; these monumental acts of recollection were her genius. In the old days, Smiley remembered, she would have teased him, flirted with her voice, taken huge arcs through seemingly extraneous chunks of Moscow Centre history, all to lure him nearer. But tonight her narrative had acquired an awesome sobriety, as if she knew she had very little time.

Old and young, we dream of graves and monuments", murmured the stranger youth. ı wonder how mariners feel when the ship is sinking, and they,unknown the and undistinguished, are to be buried together in the ocean- that wide and nameless sepulchre?

They had run in all directions, these shady night animals, down old paths and new paths and old paths grown over till they were rediscovered; and now at last, behind their twin leaders—Connie Sachs alias Mother Russia, and di Salis alias the Doc—they crammed themselves, all twelve of them, into the very throne-room itself, under Karla’s portrait, in an obedient half-circle round their chief, Bolshies and yellow perils together. A plenary session, then: for people unused to such drama, a monument of history indeed.

In the eyes of the drafters, the entire two-thousand-year-old built environment of the country with its villages, shrines, castles, mosques, churches, and monuments dating to the Ottoman, Mameluke, Ayyubid, Crusader, Abbasid, Umayyad, Byzantine, and earlier periods belonged to no people at all, or only to amorphous religious groups. There were people there, certainly, but they had no history or collective existence, and could therefore be ignored.

Before their culture was annihilated by the Europeans, the Maya of ancient Mexico devised a world timescale that dwarfed the paltry few thousand years that the Europeans thought had passed since the creation of the world. Among the decaying monuments of Coba, in Quintana Roo, are inscriptions showing that the Maya were contemplating a Universe around 1029 years old. The Hindus held that the present incarnation of the Universe is 8.6 × 10° years old-almost right on the button. And the third century B.C. Sicilian mathematician Archimedes, in his book The Sand-Reckoner, estimated that it would take 1063 grains of sand to fill the Cosmos. On the really big questions, billions and billions were small change even then

In the third paragraph of the Mandate’s preamble, the Jewish people, and only the Jewish people, are described as having a historic connection to Palestine. In the eyes of the drafters, the entire two-thousand-year-old built environment of the country with its villages, shrines, castles, mosques, churches, and monuments dating to the Ottoman, Mameluke, Ayyubid, Crusader, Abbasid, Umayyad, Byzantine, and earlier periods belonged to no people at all, or only to amorphous religious groups.

Outside, the colonel was cheering, delighted by his first encounter with warfare, Inside, two Monuments Men bent over a four-hundered-year-old painting [by Peter Breughel the Elder] in the faint light of a newly arrived lamp. The first was kneeling on the ground, studying its surface like an archeologist in an Egyptian tomb or a medic with a wounded man. The second hunched behind him, concentrating on his notes. The soldiers, tired and dirty, huddled around them like the shepherds at the manger, staring silently at a painting of expressive faces and peasant villagers and at the two adult men in soldiers' garb fussing over every square centimeter of its surface.