Old Song Quotes

Some old wounds never truly heal, and bleed again at the slightest word.

Old stories are like old friends, she used to say. You have to visit them from time to time.

There's not a word yet, for old friends who've just met.

Name one hero who was happy." I considered. Heracles went mad and killed his family; Theseus lost his bride and father; Jason's children and new wife were murdered by his old; Bellerophon killed the Chimera but was crippled by the fall from Pegasus' back. "You can't." He was sitting up now, leaning forward. "I can't." "I know. They never let you be famous AND happy." He lifted an eyebrow. "I'll tell you a secret." "Tell me." I loved it when he was like this. "I'm going to be the first." He took my palm and held it to his. "Swear it." "Why me?" "Because you're the reason. Swear it." "I swear it," I said, lost in the high color of his cheeks, the flame in his eyes. "I swear it," he echoed. We sat like that a moment, hands touching. He grinned. "I feel like I could eat the world raw.

My old grandmother always used to say, Summer friends will melt away like summer snows, but winter friends are friends forever.

You should date a girl who reads. Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve. Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn. She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book. Buy her another cup of coffee. Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice. It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does. She has to give it a shot somehow. Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world. Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two. Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series. If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are. You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype. You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots. Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads. Or better yet, date a girl who writes.

The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real ... for a moment at least ... that long magic moment before we wake. Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smokestacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest Airlines. Why do our dreams become so much smaller when they finally come true? We read fantasy to find the colors again, I think. To taste strong spices and hear the songs the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever somewhere south of Oz and north of Shangri-La. They can keep their heaven. When I die, I'd sooner go to middle Earth.

Oh, my sweet summer child," Old Nan said quietly, "what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods

Did he just rip out the engine?" I asked. "Yes", Saiman said. "And now he is demolishing the Maserati with it." Ten seconds later Curran hurled the twisted wreck of black and orange that used to be the Maserati into the wall. The first melodic notes of an old song came from the computer. I glanced at Saiman. He shrugged. "It begged for a soundtrack.

Never forget: we walk on hell, gazing at flowers.

And I watch my words from a long way off. They are more yours than mine. They climb on my old suffering like ivy.

Do you want a cookie? - What? - A cookie. Like an Oreo. Do you want one? - No. - How can you not want a cookie? - I just don't. - Okay, fine,let's say you did want a cookie. Let's say you were dying for a cookie, and there were cookies in the cupboard. What would you do? - I'd eat a cookie? - Exactly. That's all I'm saying. - What are you saying? - That if people want cookies, they should get a cookie. It's what people do. - Let me guess. Dad won't let you have a cookie? - No. Even though I'm practically starving to death, he won't even consider it. He says I have to have a sandwich first. - And you don't think that's fair. - You just said you'd get a cookie if you wanted one. So why can't I? I'm not a little kid. I can make my own decisions. - Hmm. I can see why this bothers you so much. - It's not fair. If he wants a cookie, he can have one. If you want a cookie, you can have one. But if I want a cookie, the rules don't count. Like you said, it's not fair. - So what are you going to do? - I'm going to eat a sandwich. Because I have to. Because the world isn't fair to ten-year-olds.

Different elevator music was playing since my last visit-that old disco song "Stayin' Alive." A terrifying image flashed through my mind of Apollo in bell-bottom pants and a slinky silk shirt.

He'll be down with the books. My old septon used to say books are dead men talking. Dead men should keep quiet is what I say. No one wants to hear a dead man's yabber.

You can only blame your problems on the world for so long Before it all becomes the same old song

I felt like lying down by the side of the trail and remembering it all. The woods do that to you, they always look familiar, long lost, like the face of a long-dead relative, like an old dream, like a piece of forgotten song drifting across the water, most of all like golden eternities of past childhood or past manhood and all the living and the dying and the heartbreak that went on a million years ago and the clouds as they pass overhead seem to testify (by their own lonesome familiarity) to this feeling.

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The wind was moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon's ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him!

This is what Achilles will feel like when he is old. And then I remembered: he will never be old.

You’ll need coffee shops and sunsets and road trips. Airplanes and passports and new songs and old songs, but people more than anything else. You will need other people and you will need to be that other person to someone else, a living breathing screaming invitation to believe better things.

Many have died; you also will die. The drum of death is being beaten. The world has fallen in love with a dream. Only sayings of the wise will remain.

Every man should lose a battle in his youth, so he does not lose a war when he is old.

Needle was Robb and Bran and Rickon, her mother and her father, even Sansa. Needle was Winterfell's grey walls, and the laughter of its people. Needle was the summer snows, Old Nan's stories, the heart tree with its red leaves and scary face, the warm earthy smell of the glass gardens, the sound of the north wind rattling the shutters of her room. Needle was Jon Snow's smile. He used to mess my hair and call me "little sister," she remembered, and suddenly there were tears in her eyes.

The times you lived through, the people you shared those times with — nothing brings it all to life like an old mix tape. It does a better job of storing up memories than actual brain tissue can do. Every mix tape tells a story. Put them together, and they can add up to the story of a life.

Aemon’s blind white eyes came open. “Egg?” he said, as the rain streamed down his cheeks. “Egg, I dreamed that I was old.

I was born on the night of Samhain, when the barrier between the worlds is whisper-thin and when magic, old magic, sings its heady and sweet song to anyone who cares to hear it.

In his suicide note, Kurt Cobain wrote, "It's better to burn out than to fade away." He was quoting a Neil Young song about Johnny Rotten of the Sex Pistols. When I was twenty-four, I interviewed John Lennon. I asked him about this sentiment, one that pervades rock and roll. He took strong, outraged exception to it. "It's better to fade away like an old soldier than to burn out, " he said. "I worship people who survive. I'll take the living and the healthy.

I wake up and tear drops, they fall down like rain. I put on that old song we danced to and then, I head off to my job cause not much has changed. Punch the clock, head for home, check the phone. Just in case. Go to bed, dream of you. That's what I am doing these days.

Like vanishing dew, a passing apparition or the sudden flash of lightning -- already gone -- thus should one regard one's self.

Minds are like swords, I do fear. The old ones go to rust.

ethereal, adj. You leaned your head into mine, and I leaned my head into yours. Dancing cheek to cheek. Revolving slowly, eyes closed, heartbeat measure, nature’s hum. It lasted the length of an old song, and then we stopped, kissed, and my heart stayed there, just like that.

In the cherry blossom's shade there's no such thing as a stranger.

Do you want to die old and craven in your bed?- How else? Though not till I'm done reading.

I grow old … I grow old … I shall wear the bottoms of my trousers rolled.

Unending Love I seem to have loved you in numberless forms, numberless times... In life after life, in age after age, forever. My spellbound heart has made and remade the necklace of songs, That you take as a gift, wear round your neck in your many forms, In life after life, in age after age, forever. Whenever I hear old chronicles of love, it's age old pain, It's ancient tale of being apart or together. As I stare on and on into the past, in the end you emerge, Clad in the light of a pole-star, piercing the darkness of time. You become an image of what is remembered forever. You and I have floated here on the stream that brings from the fount. At the heart of time, love of one for another. We have played along side millions of lovers, Shared in the same shy sweetness of meeting, the distressful tears of farewell, Old love but in shapes that renew and renew forever. Today it is heaped at your feet, it has found its end in you The love of all man's days both past and forever: Universal joy, universal sorrow, universal life. The memories of all loves merging with this one love of ours - And the songs of every poet past and forever.

Now I gazed out of my office window. Slowly the world was changing from old-gold to the deep purple which, in the words of that dreamy song Mum was fond of humming, bathes garden walls under the twinkle of starlight.

Wish You Were Here So, so you think you can tell Heaven from Hell, Blue skys from pain. Can you tell a green field From a cold steel rail? A smile from a veil? Do you think you can tell? And did they get you to trade Your heros for ghosts? Hot ashes for trees? Hot air for a cool breeze? Cold comfort for change? And did you exchange A walk on part in the war For a lead role in a cage? How I wish, how I wish you were here. We're just two lost souls Swimming in a fish bowl, Year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

That's a nice song," said young Sam, and Vimes remembered that he was hearing it for the first time. "It's an old soldiers' song," he said. "Really, sarge? But it's about angels." Yes, thought Vimes, and it's amazing what bits those angels cause to rise up as the song progresses. It's a real soldiers' song: sentimental, with dirty bits. "As I recall, they used to sing it after battles," he said. "I've seen old men cry when they sing it," he added. "Why? It sounds cheerful." They were remembering who they were not singing it with, thought Vimes. You'll learn. I know you will.

Because you don't lose someone once. You lose them hearing a song that reminds you of their smile. Passing an old landmark. Laughing at a joke they would've laughed at. You lose them infinitely.

I don’t know if I will have the time to write any more letters, because I might be too busy trying to participate. So, if this does end up being the last letter, I just want you to know that I was in a bad place before I started high school, and you helped me. Even if you didn’t know what I was talking about, or know someone who’s gone through it, you made me not feel alone. Because I know there are people who say all these things don’t happen. And there are people who forget what it’s like to be sixteen when they turn seventeen. I know these will all be stories some day, and our pictures will become old photographs. We all become somebody’s mom or dad. But right now, these moments are not stories. This is happening. I am here, and I am looking at her. And she is so beautiful. I can see it. This one moment when you know you’re not a sad story. You are alive. And you stand up and see the lights on the buildings and everything that makes you wonder. And you’re listening to that song, and that drive with the people who you love most in this world. And in this moment, I swear, we are infinite.

You’ll need coffee shops and sunsets and road trips. Airplanes and passports and new songs and old songs, but people more than anything else. You will need other people, and you will need to be that other person to someone else, a living breathing screaming invitation to believe better things.

Old Tom Bombadil is a merry fellow, Bright blue his jacket is, and his boots are yellow. None has ever caught him yet, for Tom, he is the Master: His songs are stronger songs, and his feet are faster.

It's just a stupid sword," she said, aloud this time... ... but it wasn't. Needle was Robb and Bran and Rickon, her mother and her father, even Sansa. Needle was Winterfell's grey walls, and the laughter of its people. Needle was the summer snows, Old Nan's stories, the heart tree with its red leaves and scary face, the warm earthy smell of the glass gardens, the sound of the north wind rattling the shutters of her room. Needle was Jon Snow's smile.

Ryan Chase was my eighth-grade collage, aspirational and wide-eyed. But Max was the first bite of grilled cheese on a snowy day, the easy fit of my favorite jeans, that one old song that made it onto every playlist. Peanut-butter Girl Scout cookies instead of an ornate cake. Not glamorous or idealized or complicated. Just me.

We shouldn't be here at all, if we'd known more about it before we started. But I suppose it's often that way. The brave things in the old tales and songs, Mr. Frodo: adventures, as I used to call them. I used to think that they were things the wonderful folk of the stories went out and looked for, because they wanted them, because they were exciting and life was a bit dull, a kind of a sport, as you might say. But that's not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually — their paths were laid that way, as you put it. But I expect they had lots of chances, like us, of turning back, only they didn't. And if they had, we shouldn't know, because they'd have been forgotten. We hear about those as just went on — and not all to a good end, mind you; at least not to what folk inside a story and not outside it call a good end. You know, coming home, and finding things all right, though not quite the same — like old Mr Bilbo. But those aren't always the best tales to hear, though they may be the best tales to get landed in! I wonder what sort of a tale we've fallen into?

And it is exceedingly short, his galloping life. Dogs die so soon. I have my stories of that grief, no doubt many of you do also. It is almost a failure of will, a failure of love, to let them grow old—or so it feels. We would do anything to keep them with us, and to keep them young. The one gift we cannot give.

Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done The silver apples of the moon, The golden apples of the sun. - The Song of Wandering Aengus

Each of us has something within us which won't be denied, even if it makes us scream aloud to die. We are what we are, that's all. Like the old Celtic legend of the bird with the thorn in its breast, singing its heart out and dying. Because it has to, its self-knowledge can't affect or change the outcome, can it? Everyone singing his own little song, convinced it's the most wonderful song the world has ever heard. Don't you see? We create our own thorns, and never stop to count the cost. All we can do is suffer the pain, and tell ourselves it was well worth it.

Everyone I have lost in the closing of a door the click of the lock is not forgotten, they do not die but remain within the soft edges of the earth, the ash of house fires and cancer in sin and forgiveness huddled under old blankets dreaming their way into my hands, my heart closing tight like fists. - "Indian Boy Love Song #1

He thinks great folly, child,' said Aslan. "This world is bursting with life for these few days because the song with which I called it into life still hangs in the air and rumbles in the ground. It will not be so for long. But I cannot tell that to this old sinner, and I cannot comfort him either; he has made himself unable to hear my voice. If I spoke to him, he would hear only growlings and roarings. Oh, Adam's son, how cleverly you defend yourself against all that might do you good!

I know these will all be stories some day, and our pictures will become old photographs. We all become somebody’s mom or dad. But right now, these moments are not stories. This is happening. I can see it. This one moment when you know you’re not a sad story. You are alive. And you stand up and see the lights on the buildings and everything that makes you wonder. And you’re listening to that song, and that drive with the people who you love most in this world. And in this moment, I swear, we are infinite.

It would be inappropiate, undignified, at 38, to conduct friendships or love affairs with the ardour or intensity of a 22 year old. Falling in love like that? Writing poetry? Crying at pop songs? Dragging people into photobooths? Taking a whole day to make a compilation tape? Asking people if they wanted to share your bed, just for company? If you quoted Bob Dylan or TS Eliot or, god forbid, Brecht at someone these days they would smile politely and step quietly backwards, and who would blame them? Ridiculous, at 38, to expect a song or book or film to change your life.

I want you to tell me about every person you’ve ever been in love with. Tell me why you loved them, then tell me why they loved you. Tell me about a day in your life you didn’t think you’d live through. Tell me what the word home means to you and tell me in a way that I’ll know your mother’s name just by the way you describe your bedroom when you were eight. See, I want to know the first time you felt the weight of hate, and if that day still trembles beneath your bones. Do you prefer to play in puddles of rain or bounce in the bellies of snow? And if you were to build a snowman, would you rip two branches from a tree to build your snowman arms or would leave your snowman armless for the sake of being harmless to the tree? And if you would, would you notice how that tree weeps for you because your snowman has no arms to hug you every time you kiss him on the cheek? Do you kiss your friends on the cheek? Do you sleep beside them when they’re sad even if it makes your lover mad? Do you think that anger is a sincere emotion or just the timid motion of a fragile heart trying to beat away its pain? See, I wanna know what you think of your first name, and if you often lie awake at night and imagine your mother’s joy when she spoke it for the very first time. I want you to tell me all the ways you’ve been unkind. Tell me all the ways you’ve been cruel. Tell me, knowing I often picture Gandhi at ten years old beating up little boys at school. If you were walking by a chemical plant where smokestacks were filling the sky with dark black clouds would you holler “Poison! Poison! Poison!” really loud or would you whisper “That cloud looks like a fish, and that cloud looks like a fairy!” Do you believe that Mary was really a virgin? Do you believe that Moses really parted the sea? And if you don’t believe in miracles, tell me — how would you explain the miracle of my life to me? See, I wanna know if you believe in any god or if you believe in many gods or better yet what gods believe in you. And for all the times that you’ve knelt before the temple of yourself, have the prayers you asked come true? And if they didn’t, did you feel denied? And if you felt denied, denied by who? I wanna know what you see when you look in the mirror on a day you’re feeling good. I wanna know what you see when you look in the mirror on a day you’re feeling bad. I wanna know the first person who taught you your beauty could ever be reflected on a lousy piece of glass. If you ever reach enlightenment will you remember how to laugh? Have you ever been a song? Would you think less of me if I told you I’ve lived my entire life a little off-key? And I’m not nearly as smart as my poetry I just plagiarize the thoughts of the people around me who have learned the wisdom of silence. Do you believe that concrete perpetuates violence? And if you do — I want you to tell me of a meadow where my skateboard will soar. See, I wanna know more than what you do for a living. I wanna know how much of your life you spend just giving, and if you love yourself enough to also receive sometimes. I wanna know if you bleed sometimes from other people’s wounds, and if you dream sometimes that this life is just a balloon — that if you wanted to, you could pop, but you never would ‘cause you’d never want it to stop. If a tree fell in the forest and you were the only one there to hear — if its fall to the ground didn’t make a sound, would you panic in fear that you didn’t exist, or would you bask in the bliss of your nothingness? And lastly, let me ask you this: If you and I went for a walk and the entire walk, we didn’t talk — do you think eventually, we’d… kiss? No, wait. That’s asking too much — after all, this is only our first date.

Seeing as this is probably my last hurrah, I don't suppose I could get you two bleeding hearts to massacre a village with me? For old time's sake. - Jackal

Here I love you and the horizon hides you in vain. I love you still among these cold things. Sometimes my kisses go on those heavy vessels that cross the sea towards no arrival. I see myself forgotten like those old anchors. The piers sadden when the afternoon moors there. My life grows tired, hungry to no purpose. I love what I do not have. You are so far. My loathing wrestles with the slow twilights. But night comes and starts to sing to me.

When the Dark comes rising six shall turn it back; Three from the circle, three from the track; Wood, bronze, iron; Water, fire, stone; Five will return and one go alone. Iron for the birthday; bronze carried long; Wood from the burning; stone out of song; Fire in the candle ring; water from the thaw; Six signs the circle and the grail gone before. Fire on the mountain shall find the harp of gold Played to wake the sleepers, oldest of old. Power from the Green Witch, lost beneath the sea. All shall find the Light at last, silver on the tree.

I fancied you'd return the way you said, But I grow old and I forget your name. --From the poem "Mad Girl's Love Song

The girls I dream of are the gentle ones, wistful by high windows or singing sweet old songs at a piano, long hair drifting, tender as apple blossom. But a girl who goes into battle beside you and keeps your back is a different thing, a thing to make you shiver. Think of the first time you slept with someone, or the first time you fell in love: that blinding explosion that left you cracking to the fingertips with electricity, initiated and transformed. I tell you that was nothing, nothing at all, beside the power of putting your lives, simply and daily, into each other's hands.

Margaery, you're clever, be a dear and tell your poor old half-daft grandmother the name of that queer fish from the Summer Isles that puffs up to ten times its own size when you poke it." "They call them puff fish, Grandmother." "Of course they do. Summer Islanders have no imagination.

Families will not be broken. Curse and expel them, send their children wandering, drown them in floods and fires, and old women will make songs of all these sorrows and sit on the porch and sing them on mild evenings.

You know, I do believe in magic. I was born and raised in a magic time, in a magic town, among magicians. Oh, most everybody else didn’t realize we lived in that web of magic, connected by silver filaments of chance and circumstance. But I knew it all along. When I was twelve years old, the world was my magic lantern, and by its green spirit glow I saw the past, the present and into the future. You probably did too; you just don’t recall it. See, this is my opinion: we all start out knowing magic. We are born with whirlwinds, forest fires, and comets inside us. We are born able to sing to birds and read the clouds and see our destiny in grains of sand. But then we get the magic educated right out of our souls. We get it churched out, spanked out, washed out, and combed out. We get put on the straight and narrow and told to be responsible. Told to act our age. Told to grow up, for God’s sake. And you know why we were told that? Because the people doing the telling were afraid of our wildness and youth, and because the magic we knew made them ashamed and sad of what they’d allowed to wither in themselves. After you go so far away from it, though, you can’t really get it back. You can have seconds of it. Just seconds of knowing and remembering. When people get weepy at movies, it’s because in that dark theater the golden pool of magic is touched, just briefly. Then they come out into the hard sun of logic and reason again and it dries up, and they’re left feeling a little heartsad and not knowing why. When a song stirs a memory, when motes of dust turning in a shaft of light takes your attention from the world, when you listen to a train passing on a track at night in the distance and wonder where it might be going, you step beyond who you are and where you are. For the briefest of instants, you have stepped into the magic realm. That’s what I believe. The truth of life is that every year we get farther away from the essence that is born within us. We get shouldered with burdens, some of them good, some of them not so good. Things happen to us. Loved ones die. People get in wrecks and get crippled. People lose their way, for one reason or another. It’s not hard to do, in this world of crazy mazes. Life itself does its best to take that memory of magic away from us. You don’t know it’s happening until one day you feel you’ve lost something but you’re not sure what it is. It’s like smiling at a pretty girl and she calls you “sir.” It just happens. These memories of who I was and where I lived are important to me. They make up a large part of who I’m going to be when my journey winds down. I need the memory of magic if I am ever going to conjure magic again. I need to know and remember, and I want to tell you.

My turn now. The story of one of my insanities. For a long time I boasted that I was master of all possible landscapes-- and I thought the great figures of modern painting and poetry were laughable. What I liked were: absurd paintings, pictures over doorways, stage sets, carnival backdrops, billboards, bright-colored prints, old-fashioned literature, church Latin, erotic books full of misspellings, the kind of novels our grandmothers read, fairy tales, little children's books, old operas, silly old songs, the naive rhythms of country rimes. I dreamed of Crusades, voyages of discovery that nobody had heard of, republics without histories, religious wars stamped out, revolutions in morals, movements of races and continents; I used to believe in every kind of magic. I invented colors for the vowels! A black, E white, I red, O blue, U green. I made rules for the form and movement of every consonant, and I boasted of inventing, with rhythms from within me, a kind of poetry that all the senses, sooner or later, would recognize. And I alone would be its translator. I began it as an investigation. I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still.

What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

I don’t like anything here at all.” said Frodo, “step or stone, breath or bone. Earth, air and water all seem accursed. But so our path is laid.” “Yes, that’s so,” said Sam, “And we shouldn’t be here at all, if we’d known more about it before we started. But I suppose it’s often that way. The brave things in the old tales and songs, Mr. Frodo, adventures, as I used to call them. I used to think that they were things the wonderful folk of the stories went out and looked for, because they wanted them, because they were exciting and life was a bit dull, a kind of a sport, as you might say. But that’s not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually their paths were laid that way, as you put it. But I expect they had lots of chances, like us, of turning back, only they didn’t. And if they had, we shouldn’t know, because they’d have been forgotten. We hear about those as just went on, and not all to a good end, mind you; at least not to what folk inside a story and not outside it call a good end. You know, coming home, and finding things all right, though not quite the same; like old Mr Bilbo. But those aren’t always the best tales to hear, though they may be the best tales to get landed in! I wonder what sort of a tale we’ve fallen into?” “I wonder,” said Frodo, “But I don’t know. And that’s the way of a real tale. Take any one that you’re fond of. You may know, or guess, what kind of a tale it is, happy-ending or sad-ending, but the people in it don’t know. And you don’t want them to.

I grow old … I grow old … I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

I put my hand on the altar rail. 'What if ... what if Heaven is real, but only in moments? Like a glass of water on a hot day when you're dying of thirst, or when someone's nice to you for no reason, or ...' Mam's pancakes with Toblerone sauce; Dad dashing up from the bar just to tell me, 'Sleep tight, don't let the bedbugs bite'; or Jacko and Sharon singing 'For She's A Squishy Marshmallow' instead of 'For She's A Jolly Good Fellow' every single birthday and wetting themselves even though it's not at all funny; and Brendan giving his old record player to me instead of one of his mates. 'S'pose Heaven's not like a painting that's just hanging there for ever, but more like ... Like the best song anyone ever wrote, but a song you only catch in snatches, while you're alive, from passing cars, or ... upstairs windows when you're lost ...

What of the firefly, the one I love to chase? The old man smiled Love her he said but leave her wild, and the old oak tree I love to climb? Love her, he said, but leave her wild the bird that sings that song I love? Love her, he said, but leave her wild and the wolf that cries to the old joke moon? Love her, he said, but leave her wild and the horse that loves to run with storms? Love her, he said, but leave her wild. And what of her, the one I love most? And the old man smiled. Yes, he said, you must love her too but love her wild and she’ll love you

Eldorado Gaily bedight, A gallant knight, In sunshine and in shadow, Had journeyed long, Singing a song, In search of Eldorado. But he grew old— This knight so bold— And o’er his heart a shadow— Fell as he found No spot of ground That looked like Eldorado. And, as his strength Failed him at length, He met a pilgrim shadow— ‘Shadow,’ said he, ‘Where can it be— This land of Eldorado?’ ‘Over the Mountains Of the Moon, Down the Valley of the Shadow, Ride, boldly ride,’ The shade replied,— ‘If you seek for Eldorado!

Allow me to give my lord one last piece of counsel," the old man had said, "the same counsel I once gave my brother when we parted for the last time. He was three-and-thirty when the Great Council chose him to mount the Iron Throne. A man grown with sons of his own, yet in some ways still a boy. Egg had an innocence to him, a sweetness we all loved. Kill the boy within you, I told him the day I took ship for the Wall. It takes a man to rule. An Aegon, not an Egg. Kill the boy and let the man be born." The old man felt Jon's face. "You are half the age that Egg was, and your own burden is crueler one, I fear. You will have little joy of your command, but I think you have the strength in you to do the things that must be done. Kill the boy, Jon Snow. Winter is almost upon us. Kill the boy and let the man be born.

Is there no context for our lives? No song, no literature, no poem full of vitamins, no history connected to experience that you can pass along to help us start strong? You are an adult. The old one, the wise one. Stop thinking about saving your face. Think of our lives and tell us your particularized world. Make up a story. Narrative is radical, creating us at the very moment it is being created. We will not blame you if your reach exceeds your grasp; if love so ignites your words they go down in flames and nothing is left but their scald. Or if, with the reticence of a surgeon's hands, your words suture only the places where blood might flow. We know you can never do it properly - once and for all. Passion is never enough; neither is skill. But try. For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don't tell us what to believe, what to fear. Show us belief s wide skirt and the stitch that unravels fear's caul. You, old woman, blessed with blindness, can speak the language that tells us what only language can: how to see without pictures. Language alone protects us from the scariness of things with no names. Language alone is meditation.

Can I dwell on what I scarce remember? I held a castle on the Marches once, and there was a woman I was pledged to marry, but I could not find that castle today, nor tell you the color of that woman's hair. Who knighted me, old friend? What were my favorite foods? It all fades. Sometimes I think I was born on the bloody grass in that grove of ash, with the taste of fire in my mouth and a hole in my chest. Are you my mother, Thoros?

song of elli (old age) "What is plucked will grow again, What is slain lives on, What is stolen will remain What is gone is gone... What is sea-born dies on land, Soft is trod upon. What is given burns the hand - What is gone is gone... Here is there, and high is low; All may be undone. What is true, no two men know - What is gone is gone... Who has choices need not choose. We must, who have none. We can love but what we lose - What is gone is gone.

I am in need of music that would flow Over my fretful, feeling finger-tips, Over my bitter-tainted, trembling lips, With melody, deep, clear, and liquid-slow. Oh, for the healing swaying, old and low, Of some song sung to rest the tired dead, A song to fall like water on my head, And over quivering limbs, dream flushed to glow! There is a magic made by melody: A spell of rest, and quiet breath, and cool Heart, that sinks through fading colors deep To the subaqueous stillness of the sea, And floats forever in a moon-green pool, Held in the arms of rhythm and of sleep.

It sounded old. Deserve. Old and tired and beaten to death. Deserve. Now it seemed to him that he was always saying or thinking that he didn't deserve some bad luck, or some bad treatment from others. He'd told Guitar that he didn't "deserve" his family's dependence, hatred, or whatever. That he didn't even "deserve" to hear all the misery and mutual accusations his parents unloaded on him. Nor did he "deserve" Hagar's vengeance. But why shouldn't his parents tell him their personal problems? If not him, then who? And if a stranger could try to kill him, surely Hagar, who knew him and whom he'd thrown away like a wad of chewing gum after the flavor was gone––she had a right to try to kill him too. Apparently he though he deserved only to be loved--from a distance, though--and given what he wanted. And in return he would be...what? Pleasant? Generous? Maybe all he was really saying was: I am not responsible for your pain; share your happiness with me but not your unhappiness.

Miracles do happen. You must believe this. No matter what else you believe about life, you must believe in miracles. Because we are all, every one of us, living on a round rock that spins around and around at almost a quarter of a million miles per hour in an unthinkably vast blackness called space. There is nothing else like us for as far as our telescopic eyes can see. In a universe filled with spinning, barren rocks, frozen gas, ice, dust, and radiation, we live on a planet filled with soft, green leaves and salty oceans and honey made from bees, which themselves live within geometrically complex and perfect structures of their own architecture and creation. In our trees are birds whose songs are as complex and nuanced as Beethoven’s greatest sonatas. And despite the wild, endless spinning of our planet and its never-ending orbit around the sun–itself a star on fire–when we pour water into a glass, the water stays in the glass. All of these are miracles.

... He'd been about to turn away when she lifted her face to the moon and sang. It was not in any language that he knew. Not in the common tongue, or in Eyllwe, or in the languages of Fenharrow or Melisande, or anywhere else on the continent This language was ancient, each word full of power and rage and agony. She did not have a beautiful voice. And many of the words sounded like half sobs, the vowels stretched by the pangs of sorrow, the consonants hardened by anger. She beat her breast in time, so full of savage grace, so at odds with the black gown and veil she wore. The hair on the back of his neck stood as the lament poured from her mouth, unearthly and foreign, a song of grief so old that it predated the stone castle itself. And the the song finished, its end as butal and sudden as Nehemia's death had been. She stood there a few moments, silent and unmoving.

Your brother Robb has been crowned King in the North. You and Aemon have that in common. A king for a brother.” said Mormont. “And this too,” said Jon. “A vow.” The Old Bear gave a loud snort, and the raven took flight, flapping in a circle about the room. “Give me a man for every vow I’ve seen broken and the Wall will never lack for defenders.” “I’ve always known that Rob will be Lord of Winterfell.” Mormont gave a whistle, and the bird flew to him again and settled on his arm. “A lord’s one thing, a king’s another. They will garb your brother Robb in silks, satins, and velvets of a hundred different colors, while you live and die in black ringmail. He will wed some beautiful princess and father sons on her. You’ll have no wife, nor will you ever hold a child of your own blood in your arms. Robb will rule, you will serve. Men will call you a crow. Him they’ll call `Your Grace’. Singers will praise every little thing he does, while your greatest deeds all go unsung. Tell me that none of this troubles you, Jon… and I’ll name you a liar, and know I have the truth of it.” Jon drew himself up, taut as a bowstring “And if it did trouble me, what might I do, bastard as I am?” “What will you do?” Mormont asked. “Bastard as you are.” “Be troubled,” said Jon, “and keep my vows.

The Day is Done The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an eagle in his flight. I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o'er me That my soul cannot resist: A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain. Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day. Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time. For, like strains of martial music, Their mighty thoughts suggest Life's endless toil and endeavor; And to-night I long for rest. Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start; Who, through long days of labor, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies. Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer. Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.

Mhysa!” a brown-skinned man shouted out at her. He had a child on his shoulder, a little girl, and she screamed the same word in her thin voice. “Mhysa! Mhysa!” Dany looked at Missandei. “What are they shouting?” “It is Ghiscari, the old pure tongue. It means ‘Mother.’” Dany felt a lightness in her chest. I will never bear a living child, she remembered. Her hand trembled as she raised it. Perhaps she smiled. She must have, because the man grinned and shouted again, and others took up the cry. “Mhysa!” they called. “Mhysa! MHYSA!” They were all smiling at her, reaching for her, kneeling before her. “Maela,” some called her, while others cried “Aelalla” or “Qathei” or “Tato,” but whatever the tongue it all meant the same thing. Mother. They are calling me Mother.

I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim or too ugly or too this or too that. Songs that run you down or poke fun at you on account of your bad luck or hard travelling. I am out to fight those songs to my very last breath of air and my last drop of blood. I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter what color, what size you are, how you are built, I am out to sing the songs that make you take pride in yourself and in your work. And the songs that I sing are made up for the most part by all sorts of folks just about like you. I could hire out to the other side, the big money side, and get several dollars every week just to quit singing my own kind of songs and to sing the kind that knock you down still farther and the ones that poke fun at you even more and the ones that make you think that you've not got any sense at all. But I decided a long time ago that I'd starve to death before I'd sing any such songs as that. The radio waves and your movies and your jukeboxes and your songbooks are already loaded down and running over with such no good songs as that anyhow.

Lately, though, he'd just been tired in general. Tired of people. Tired of books and TV and the nightly news and songs on the radio he'd heard years before and hadn't liked much in the first place. He was tired of his clothes and tired of his hair and tired of other people's clothes and other people's hair. He was tired of wishing things made sense. He'd gotten to a point where he was pretty sure he'd heard everything anyone had to say on any given subject and so it seemed he spent his days listening to old recordings of things that hadn't seemed fresh the first time he'd heard them. Maybe he was simply tired of life, of the absolute effort it took to get up every goddamned morning and walk out with into the same fucking day with only slight variations in the weather and food. He wondered if this was what clinical depression felt like, a total numbness, a weary lack of hope.

We love men because they can never fake orgasms, even if they wanted to. Because they write poems, songs, and books in our honor. Because they never understand us, but they never give up. Because they can see beauty in women when women have long ceased to see any beauty in themselves. Because they come from little boys. Because they can churn out long, intricate, Machiavellian, or incredibly complex mathematics and physics equations, but they can be comparably clueless when it comes to women. Because they are incredible lovers and never rest until we’re happy. Because they elevate sports to religion. Because they’re never afraid of the dark. Because they don’t care how they look or if they age. Because they persevere in making and repairing things beyond their abilities, with the naïve self-assurance of the teenage boy who knew everything. Because they never wear or dream of wearing high heels. Because they’re always ready for sex. Because they’re like pomegranates: lots of inedible parts, but the juicy seeds are incredibly tasty and succulent and usually exceed your expectations. Because they’re afraid to go bald. Because you always know what they think and they always mean what they say. Because they love machines, tools, and implements with the same ferocity women love jewelry. Because they go to great lengths to hide, unsuccessfully, that they are frail and human. Because they either speak too much or not at all to that end. Because they always finish the food on their plate. Because they are brave in front of insects and mice. Because a well-spoken four-year old girl can reduce them to silence, and a beautiful 25-year old can reduce them to slobbering idiots. Because they want to be either omnivorous or ascetic, warriors or lovers, artists or generals, but nothing in-between. Because for them there’s no such thing as too much adrenaline. Because when all is said and done, they can’t live without us, no matter how hard they try. Because they’re truly as simple as they claim to be. Because they love extremes and when they go to extremes, we’re there to catch them. Because they are tender they when they cry, and how seldom they do it. Because what they lack in talk, they tend to make up for in action. Because they make excellent companions when driving through rough neighborhoods or walking past dark alleys. Because they really love their moms, and they remind us of our dads. Because they never care what their horoscope, their mother-in-law, nor the neighbors say. Because they don’t lie about their age, their weight, or their clothing size. Because they have an uncanny ability to look deeply into our eyes and connect with our heart, even when we don’t want them to. Because when we say “I love you” they ask for an explanation.

A Second Childhood.” When all my days are ending And I have no song to sing, I think that I shall not be too old To stare at everything; As I stared once at a nursery door Or a tall tree and a swing. Wherein God’s ponderous mercy hangs On all my sins and me, Because He does not take away The terror from the tree And stones still shine along the road That are and cannot be. Men grow too old for love, my love, Men grow too old for wine, But I shall not grow too old to see Unearthly daylight shine, Changing my chamber’s dust to snow Till I doubt if it be mine. Behold, the crowning mercies melt, The first surprises stay; And in my dross is dropped a gift For which I dare not pray: That a man grow used to grief and joy But not to night and day. Men grow too old for love, my love, Men grow too old for lies; But I shall not grow too old to see Enormous night arise, A cloud that is larger than the world And a monster made of eyes. Nor am I worthy to unloose The latchet of my shoe; Or shake the dust from off my feet Or the staff that bears me through On ground that is too good to last, Too solid to be true. Men grow too old to woo, my love, Men grow too old to wed; But I shall not grow too old to see Hung crazily overhead Incredible rafters when I wake And I find that I am not dead. A thrill of thunder in my hair: Though blackening clouds be plain, Still I am stung and startled By the first drop of the rain: Romance and pride and passion pass And these are what remain. Strange crawling carpets of the grass, Wide windows of the sky; So in this perilous grace of God With all my sins go I: And things grow new though I grow old, Though I grow old and die.

Humanity i love you because you would rather black the boots of success than enquire whose soul dangles from his watch-chain which would be embarrassing for both parties and because you unflinchingly applaud all songs containing the words country home and mother when sung at the old howard Humanity i love you because when you're hard up you pawn your intelligence to buy a drink and when you're flush pride keeps you from the pawn shops and because you are continually committing nuisances but more especially in your own house Humanity i love you because you are perpetually putting the secret of life in your pants and forgetting it's there and sitting down on it and because you are forever making poems in the lap of death Humanity i hate you

Like the most of you, I was raised among people who knew - who were certain. They did not reason or investigate. They had no doubts. They knew that they had the truth. In their creed there was no guess — no perhaps. They had a revelation from God. They knew the beginning of things. They knew that God commenced to create one Monday morning, four thousand and four years before Christ. They knew that in the eternity — back of that morning, he had done nothing. They knew that it took him six days to make the earth — all plants, all animals, all life, and all the globes that wheel in space. They knew exactly what he did each day and when he rested. They knew the origin, the cause of evil, of all crime, of all disease and death. At the same time they knew that God created man in his own image and was perfectly satisfied with his work... They knew all about the Flood -- knew that God, with the exception of eight, drowned all his children -- the old and young -- the bowed patriarch and the dimpled babe -- the young man and the merry maiden -- the loving mother and the laughing child -- because his mercy endureth forever. They knew too, that he drowned the beasts and birds -- everything that walked or crawled or flew -- because his loving kindness is over all his works. They knew that God, for the purpose of civilizing his children, had devoured some with earthquakes, destroyed some with storms of fire, killed some with his lightnings, millions with famine, with pestilence, and sacrificed countless thousands upon the fields of war. They knew that it was necessary to believe these things and to love God. They knew that there could be no salvation except by faith, and through the atoning blood of Jesus Christ. Then I asked myself the question: Is there a supernatural power -- an arbitrary mind -- an enthroned God -- a supreme will that sways the tides and currents of the world -- to which all causes bow? I do not deny. I do not know - but I do not believe. I believe that the natural is supreme - that from the infinite chain no link can be lost or broken — that there is no supernatural power that can answer prayer - no power that worship can persuade or change — no power that cares for man. Is there a God? I do not know. Is man immortal? I do not know. One thing I do know, and that is, that neither hope, nor fear, belief, nor denial, can change the fact. It is as it is, and it will be as it must be. We can be as honest as we are ignorant. If we are, when asked what is beyond the horizon of the known, we must say that we do not know. We can tell the truth, and we can enjoy the blessed freedom that the brave have won. We can destroy the monsters of superstition, the hissing snakes of ignorance and fear. We can drive from our minds the frightful things that tear and wound with beak and fang. We can civilize our fellow-men. We can fill our lives with generous deeds, with loving words, with art and song, and all the ecstasies of love. We can flood our years with sunshine — with the divine climate of kindness, and we can drain to the last drop the golden cup of joy.

No, this, she felt, was real life and if she wasn’t as curious or passionate as she had once been, that was only to be expected. It would be inappropriate, undignified, at thirty-eight, to conduct friendships or love affairs with the ardour and intensity of a twenty-two-year-old. Falling in love like that? Writing poetry, crying at pop songs? Dragging people into photo-booths, taking a whole day to make a compilation tape, asking people if they wanted to share your bed, just for company? If you quoted Bob Dylan or T.S. Eliot or, God forbid, Brecht at someone these days they would smile politely and step quietly backwards, and who would blame them? Ridiculous, at thirty-eight, to expect a song or book or film to change your life. No, everything had evened out and settled down and life was lived against a general background hum of comfort, satisfaction and familiarity. There would be no more of these nerve-jangling highs and lows. The friends they had now would be the friends they had in five, ten, twenty years’ time. They expected to get neither dramatically richer or poorer; they expected to stay healthy for a little while yet. Caught in the middle; middle class, middle-aged; happy in that they were not overly happy. Finally, she loved someone and felt fairly confident that she was loved in return. If someone asked Emma, as they sometimes did at parties, how she and her husband had met, she told them: ‘We grew up together.

If you don't believe it, go down to your local karaoke bar on a busy night. Wait until the third hour, when the drunk frat boys and gastropub waitresses with headshots are all done with Backstreet Boys and Alicia Keys and locate the slightly older Asian businessman standing patiently in line for his turn, his face warmly rouged on Crown or Japanese lager, and when he steps up and starts slaying "Country Roads," try not to laugh, or wink knowingly or clap a little too hard, because by the time he gets to "West Virginia, mountain mama," you're going to be singing along, and by the time he's done, you might understand why a seventy-seven-year-old guy from a tiny island in the Taiwan Strait who's been in a foreign country for two-thirds of his life can nail a song, note perfect, about wanting to go home.

Nine-year-old Laila rose from bed, as she did most mornings, hungry for the sight of her friend Tariq. This morning, however, she knew there would be no Tariq sighting. - How long will you be gone? - She’d asked when Tariq had told her that his parents were taking him south, to the city of Ghazni, to visit his paternal uncle. - Thirteen days - Thirteen days? - It’s not so long. You’re making a face, Laila. - I am not. - You’re not going to cry, are you? - I am not going to cry! Not over you. Not in a thousand years. She’d kicked at his shin, not his artificial but his real one, and he’d playfully whacked the back of her head. Thirteen days. Almost two weeks. And, just five days in, Laila had learned a fundamental truth about time: Like the accordion on which Tariq’s father sometimes played old Pashto songs, time stretched and contracted depending on Tariq’s absence or presence.

Sometimes you’re 23 and standing in the kitchen of your house making breakfast and brewing coffee and listening to music that for some reason is really getting to your heart. You’re just standing there thinking about going to work and picking up your dry cleaning. And also more exciting things like books you’re reading and trips you plan on taking and relationships that are springing into existence. Or fading from your memory, which is far less exciting. And suddenly you just don’t feel at home in your skin or in your house and you just want home but “Mom’s” probably wouldn’t feel like home anymore either. There used to be the comfort of a number in your phone and ears that listened every day and arms that were never for anyone else. But just to calm you down when you started feeling trapped in a five-minute period where nostalgia is too much and thoughts of this person you are feel foreign. When you realize that you’ll never be this young again but this is the first time you’ve ever been this old. When you can’t remember how you got from sixteen to here and all the same feel like sixteen is just as much of a stranger to you now. The song is over. The coffee’s done. You’re going to breath in and out. You’re going to be fine in about five minutes.

Words. I’m surrounded by thousands of words. Maybe millions. Cathedral. Mayonnaise. Pomegranate. Mississippi. Neapolitan. Hippopotamus. Silky. Terrifying. Iridescent. Tickle. Sneeze. Wish. Worry. Words have always swirled around me like snowflakes—each one delicate and different, each one melting untouched in my hands. Deep within me, words pile up in huge drifts. Mountains of phrases and sentences and connected ideas. Clever expressions. Jokes. Love songs. From the time I was really little—maybe just a few months old—words were like sweet, liquid gifts, and I drank them like lemonade. I could almost taste them. They made my jumbled thoughts and feelings have substance. My parents have always blanketed me with conversation. They chattered and babbled. They verbalized and vocalized. My father sang to me. My mother whispered her strength into my ear. Every word my parents spoke to me or about me I absorbed and kept and remembered. All of them. I have no idea how I untangled the complicated process of words and thought, but it happened quickly and naturally. By the time I was two, all my memories had words, and all my words had meanings. But only in my head. I have never spoken one single word. I am almost eleven years old.

BELOVED, gaze in thine own heart, The holy tree is growing there; From joy the holy branches start, And all the trembling flowers they bear. The changing colours of its fruit Have dowered the stars with merry light; The surety of its hidden root Has planted quiet in the night; The shaking of its leafy head Has given the waves their melody, And made my lips and music wed, Murmuring a wizard song for thee. There the Loves a circle go, The flaming circle of our days, Gyring, spiring to and fro In those great ignorant leafy ways; Remembering all that shaken hair And how the wingèd sandals dart, Thine eyes grow full of tender care: Beloved, gaze in thine own heart. Gaze no more in the bitter glass The demons, with their subtle guile, Lift up before us when they pass, Or only gaze a little while; For there a fatal image grows That the stormy night receives, Roots half hidden under snows, Broken boughs and blackened leaves. For all things turn to barrenness In the dim glass the demons hold, The glass of outer weariness, Made when God slept in times of old. There, through the broken branches, go The ravens of unresting thought; Flying, crying, to and fro, Cruel claw and hungry throat, Or else they stand and sniff the wind, And shake their ragged wings; alas! Thy tender eyes grow all unkind: Gaze no more in the bitter glass. - The Two Trees

ROSE of all Roses, Rose of all the World! The tall thought-woven sails, that flap unfurled Above the tide of hours, trouble the air, And God’s bell buoyed to be the water’s care; While hushed from fear, or loud with hope, a band With blown, spray-dabbled hair gather at hand. Turn if you may from battles never done, I call, as they go by me one by one, Danger no refuge holds, and war no peace, For him who hears love sing and never cease, Beside her clean-swept hearth, her quiet shade: But gather all for whom no love hath made A woven silence, or but came to cast A song into the air, and singing past To smile on the pale dawn; and gather you Who have sought more than is in rain or dew Or in the sun and moon, or on the earth, Or sighs amid the wandering starry mirth, Or comes in laughter from the sea’s sad lips; And wage God’s battles in the long grey ships. The sad, the lonely, the insatiable, To these Old Night shall all her mystery tell; God’s bell has claimed them by the little cry Of their sad hearts, that may not live nor die. Rose of all Roses, Rose of all the World! You, too, have come where the dim tides are hurled Upon the wharves of sorrow, and heard ring The bell that calls us on; the sweet far thing. Beauty grown sad with its eternity Made you of us, and of the dim grey sea. Our long ships loose thought-woven sails and wait, For God has bid them share an equal fate; And when at last defeated in His wars, They have gone down under the same white stars, We shall no longer hear the little cry Of our sad hearts, that may not live nor die. The Sweet Far Thing

She's locked up with a spinning wheel She can't recall what it was like to feel She says, "This room's gonna be my grave And there's no one who can save me," She sits down to her colored thread She knows lovers waking up in their beds She says, "How long can I live this way Is there someone I can pay to let me go 'Cause I'm half sick of shadows I want to see the sky Everyone else can watch as the sun goes down So why can't I And it's raining And the stars are falling from the sky And the wind And the wind I know it's cold I've been waiting For the day I will surely die And it's here And it's here for I've been told That I'll die before I'm old And the wind I know it's cold... She looks up to the mirrored glass She sees a horse and rider pass She says, "This man's gonna be my death 'Cause he's all I ever wanted in my life And I know he doesn't know my name And that all the girls are all the same to him But still I've got to get out of this place 'Cause I don't think I can face another night Where I'm half sick of shadows And I can't see the sky Everyone else can watch as the tide comes in So why can't I But there's willow trees And little breezes, waves, and walls, and flowers And there's moonlight every single night As I'm locked in these towers So I'll meet my death But with my last breath I'll sing to him I love And he'll see my face in another place," And with that the glass above Her cracked into a million bits And she cried out, "So the story fits But then I could have guessed it all along 'Cause now some drama queen is gonna write a song for me," She went down to her little boat And she broke the chains and began to float away And as the blood froze in her veins she said, "Well then that explains a thing or two 'Cause I know I'm the cursed one I know I'm meant to die Everyone else can watch as their dreams untie So why can't I

An old man sat down beside her. "Well, aren't you a pretty little peach?" His breath smelled near as foul as the dead men in the cages, and his little pig eyes were crawling up and down her. "Does my sweet peach have a name?" For half a heartbeat she forgot who she was supposed to be. She wasn't any peach, but she couldn't be Arya Stark either, not here with some smelly drunk she did not know. "I'm . . ." "She's my sister." Gendry put a heavy hand on the old man's shoulder, and squeezed. "Leave her be." The man turned, spoiling for a quarrel, but when he saw Gendry's size he thought better of it. "You sister, is she? What kind of brother are you? I'd never bring no sister of mine to the Peach, that I wouldn't." He got up from the bench and moved off muttering, in search of a new friend. "Why did you say that?" Arya hopped to her feet, "You're not my brother." "That's right," he said angrily. "I'm too bloody lowborn to be kin to m'lady high." Arya was taken aback by the fury in his voice. "That's not the way I mean it." "Yes it is." He sat down on the bench, cradling a cup of wine between his hands. "Go away. I want to drink this wine in peace. Then maybe I'll go find that black-haired girl and ring her bell for her." "But . . ." "I said, go away. M'lady." Arya whirled and left him there. A stupid bullheaded bastard boy, that's all he is. He could ring all the bells he wanted, it was nothing to her.

-You know how to call me although such a noise now would only confuse the air Neither of us can forget the steps we danced the words you stretched to call me out of dust Yes I long for you not just as a leaf for weather or vase for hands but with a narrow human longing that makes a man refuse any fields but his own I wait for you at an unexpected place in your journey like the rusted key or the feather you do not pick up.- -I WILL NEVER FIND THE FACES FOR ALL GOODBYES I'VE MADE.- For Anyone Dressed in Marble The miracle we all are waiting for is waiting till the Parthenon falls down and House of Birthdays is a house no more and fathers are unpoisoned by renown. The medals and the records of abuse can't help us on our pilgrimage to lust, but like whips certain perverts never use, compel our flesh in paralysing trust. I see an orphan, lawless and serene, standing in a corner of the sky, body something like bodies that have been, but not the scar of naming in his eye. Bred close to the ovens, he's burnt inside. Light, wind, cold, dark -- they use him like a bride. I Had It for a Moment I had it for a moment I knew why I must thank you I saw powerful governing men in black suits I saw them undressed in the arms of young mistresses the men more naked than the naked women the men crying quietly No that is not it I'm losing why I must thank you which means I'm left with pure longing How old are you Do you like your thighs I had it for a moment I had a reason for letting the picture of your mouth destroy my conversation Something on the radio the end of a Mexican song I saw the musicians getting paid they are not even surprised they knew it was only a job Now I've lost it completely A lot of people think you are beautiful How do I feel about that I have no feeling about that I had a wonderful reason for not merely courting you It was tied up with the newspapers I saw secret arrangements in high offices I saw men who loved their worldliness even though they had looked through big electric telescopes they still thought their worldliness was serious not just a hobby a taste a harmless affectation they thought the cosmos listened I was suddenly fearful one of their obscure regulations could separate us I was ready to beg for mercy Now I'm getting into humiliation I've lost why I began this I wanted to talk about your eyes I know nothing about your eyes and you've noticed how little I know I want you somewhere safe far from high offices I'll study you later So many people want to cry quietly beside you

People walk the paths of the gardens below, and the wind sings anthems in the hedges, and the big old cedars at the entrance to the maze creak. Marie-Laure imagines the electromagnetic waves traveling into and out of Michel’s machine, bending around them, just as Etienne used to describe, except now a thousand times more crisscross the air than when he lived - maybe a million times more. Torrents of text conversations, tides of cell conversations, of televisions programs, of e-mails, vast networks of fiber and wire interlaced above and beneath the city, passing through buildings, arcing between transmitters in Metro tunnels, between antennas atop buildings, from lampposts with cellular transmitters in them, commercials for Carrefour and Evian and prebaked toaster pastries flashing into space and back to earth again, I am going to be late and Maybe we should get reservations? and Pick up avocados and What did he say? and ten thousand I miss yous, fifty thousand I love yous, hate mail and appointment reminders and market updates, jewelry ads, coffee ads, furniture ads flying invisibly over the warrens of Paris, over the battlefields and tombs, over the Ardennes, over the Rhine, over Belgium and Denmark, over the scarred and ever-shifting landscape we call nations. And is it so hard to believe that souls might also travel those paths? That her father and Etienne and Madame Manec and the German boy named Werner Pfennig might harry the sky in flocks, like egrets, like terns, like starlings? That great shuttles of souls might fly about, faded but audible if you listen closely enough? They flow above the chimneys, ride the sidewalks, slip through your jacket and shirt and breastbone and lungs, and pass out through the other side, the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it. Every hour, she thinks, someone for whom the war was memory falls out of the world. We rise again in the grass. In the flowers. In songs.

A child said What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. ... What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

We believe in the wrong things. That's what frustrates me the most. Not the lack of belief, but the belief in the wrong things. You want meaning? Well, the meanings are out there. We're just so damn good at reading them wrong. I don't think meaning is something that can be explained. You have to understand it on your own. It's like when you're starting to read. First, you learn the letters. Then, once you know what sounds the letters make, you use them to sound out words. You know that c-a-t leads to cat and d-o-g leads to dog. But then you have to make that extra leap, to understand that the word, the sound, the "cat" is connected to an actual cat , and that "dog" is connected to an actual dog. It's that leap, that understanding, that leads to meaning. And a lot of the time in life, we're still just sounding things out. We know the sentences and how to say them. We know the ideas and how to present them. We know the prayers and which words to say in what order. But that's only spelling" It's much harder to lie to someone's face. But. It is also much harder to tell the truth to someone's face. The indefatigable pursuit of an unattainable perfection, even though it consist in nothing more than in the pounding of an old piano, is what alone gives a meaning to our life on this unavailing star. (Logan Pearsall Smith) Being alone has nothing to do with how many people are around. (J.R. Moehringer) You could be standing a few feet away...I could have sat next to you on the subway, or brushed beside you as we went through the turnstiles. But whether or not you are here, you are here- because these words are for you, and they wouldn't exist is you weren't here in some way. At last I had it--the Christmas present I'd wanted all along, but hadn't realized. His words. The dream was obviously a sign: he was too enticing to resist. Wow. You must have a lot of faith in me. Which I appreciate. Even if I'm not sure I share it. I could do this on my own, and not freak out that I had no idea what waited for me on the other side of this night. Hope and belief. I'd always wanted hope, but never believed that I could have such an adventure on my own. That I could own it. And love it. But it happened. Because I'm So uncool and so afraid. If there was a clue, that meant the mystery was still intact I fear you may have outmatched me, because not I find these words have nowhere to go. It's hard to answer a question you haven't been asked. It's hard to show that you tried unless you end up succeeding. This was not a haystack. We were people, and people had ways of finding eachother. It was one of those moments when you feel the future so much that is humbles the present. Don't worry. It's your embarrassment at not having the thought that counts. You think fairy tales are only for girls? Here's ahint- ask yourself who wrote them. I assure you, it wasn't just the women. It's the great male fantasy- all it takes is one dance to know that she's the one. All it takes is the sound of her song from the tower, or a look at her sleeping face. And right away you know--this is the girl in your head, sleeping or dancing or singing in front of you. Yes, girls want their princes, but boys want their princesses just as much. And they don't want a very long courtship. They want to know immediately. Be careful what you;re doing, because no one is ever who you want them to be. And the less you really know them, the more likely you are to confuse them with the girl or boy in your head You should never wish for wishful thinking