Olympia Quotes

If their work is satisfying people don't need leisure in the old-fashioned sense. No one ever asks what Newton or Darwin did to relax, or how Bach spent his weekends. At Eden-Olympia work is the ultimate play, and play the ultimate work.

I'm starting to believe that happily ever after includes people doing things that upset each other. We all get cranky, or impatient, or worried, or careless enough to do or say things that hurt someone else. Like it or not, that's normal. We can't blame it all on Olympia's bad energy. The important part is that we feel sorry about what we've done and make up for it. That's something Olympia never did.

I said: "Dead end - quiet, restful, like your town. I like a town like this." Marlowe (talking about Olympia) in a short story called Goldfish.

When Heraclitus said that everything passes steadily along, he was not inciting us to make the best of the moment, an idea unseemly to his placid mind, but to pay attention to the pace of things. Each has its own rhythm: the nap of a dog, the procession of the equinoxes, the dances of Lydia, the majestically slow beat of the drums at Dodona, the swift runners at Olympia.

This,’ Malorie says, placing a bloodied hand on the Girl’s head, ‘this is Olympia.’ The Girl looks at Malorie quickly. She blushes. She smiles. She likes it. ‘And this,’ Malorie says, pressing the Boy to her body, ‘is Tom.’ He grins, shy and happy.

Olympia thinks often about desire - desire that stops the breath, that causes a preoccupied pause in the midst of uttering a sentence - and how it may upend a life and threaten to dissolve the soul.

From all these, then, they will be finally free, and they will live a happier life than that men count most happy, the life of victors at Olympia.

Her nakedness was not absolute, for like Manet's _Olympia__, behind her ear she had a poisonous flower with orange petals, and she also wore a gold bangle on her right wrist and a necklace of tiny pearls. I imagined I would never see anything more exciting for as long as I lived, and today I can confirm that I was right.

Work dominates life in Eden-Olympia, and drives out everything else. The dream of a leisure society was the great twentieth-century delusion. Work is the new leisure. Talented and ambitious people work harder than they have ever done, and for longer hours. They find their only fulfillment through work. The men and women running successful companies need to focus their energies on the task in front of them, and for every minute of the day. The last thing they want is recreation.

Frank had turned into a giant eagle to fly to Delos, but Leo hitched a ride with Hazel on Arion’s back. No offense to Frank, but after the fiasco at Fort Sumter, Leo had become a conscientious objector to riding giant eagles. He had a one hundred percent failure rate. They found the island deserted, maybe because the seas were too choppy for the tourist boats. The windswept hills were barren except for rocks, grass, and wildflowers—and, of course, a bunch of crumbling temples. The rubble was probably very impressive, but ever since Olympia, Leo had been on ancient ruins overload. He was so done with white marble columns. He wanted to get back to the U.S., where the oldest buildings were the public schools and Ye Olde McDonald’s.

Stupid women were lured into it and assured they would become young and beautiful if they let themselves be pummeled and pounded and smeared with sticky creams, and have their faces lifted and their stomachs flattened. They paid a lot of money to Madame Olympia, who would put a little bit of magic into the creams and ointments that she used so that at first they did look marvelous. But it was the kind of magic that wore off very quickly, leaving the women even uglier than before so that they would rush back to her and pay her more money and the whole thing would start again.

And Tom and Olympia both have pondered aloud, in their own ways, the worth of a life in which the only aim is to keep living

There'll never be a perfect breakfast eaten until some man grows arms long enough to stretch down to New Orleans for his coffee & over to Norfolk for his rolls, & reaches up to Vermont & digs a slice of butter out of a spring-house, & then turns over a beehive close to a white clover patch out in Indiana for the rest. Then he'd come pretty close to making a meal on the amber that the gods eat on Mount Olympia.

Even Émile Zola was reduced to disingenuously commenting on the work’s formal qualities rather than acknowledging the subject matter. He paid tribute to Manet’s honesty, however, “When our artists give us Venuses, they correct nature, they lie. Édouard Manet asked himself why lie, why not tell the truth; he introduced us to Olympia, this fille of our time, whom you meet on the sidewalks.

I think,' Olympia said slowly, 'that I know you quite well.' She looked down at the deck and added in a carefully mild voice, 'You can be a scoundrel; I know that. You stole from me and betrayed me and lied to me. You have no morals and no ideals; you think of yourself first and you're a coward sometimes on that account.' She hesitated, chewing her lip. 'What people call a coward, anyway. I don't know what cowardice is anymore. I don't know what heroism is.' She looked up. 'But I know one thing, and I learned it from you. I know what courage means. It means to pick up and go on, no matter what. It means having a heart of iron, like they say. You have that.

In a group of five workouts, I tend to have one great workout, the kind of workout that makes me think in just a few weeks I could be an Olympic champion, plus maybe Mr. Olympia. Then, I have one workout that’s so awful the mere fact I continue to exist as a somewhat higher form of  life is a miracle. Finally, the other three workouts are the punch-the-clock workouts: I go in, work out, and walk out. Most people experience this.

The world is full of Guses--good-looking boys and girls who've been dealt the best possible genetic hand by parents and grandparents and great-grandparents who have been doing neither well nor badly for generations; who engender these decent kids and give them just enough to survive in the world but no more--no spectacular beauty, no uncontainable brilliance, no kingly, unstoppable ambition. Isn't it the task of art to acclaim these people, to ennoble them? Consider Olympia. A girl of the streets becomes a deity.

and it was heading straight for the sparkling swim cap!

Man, your horse can cuss.” Percy shook his head. “He doesn’t think much of Olympia.” For

Olympia next, a creature half divine / Sprung from the blood of old Evander's line / Held her white arm that wore a twisted chain / Clasped with an opal-sherry cymophane.

But it's tempting, isn't it, to give somebody like Olympia or Fenleigh a taste of their own medicine? To get even?' I agree it's tempting. *Really* tempting. But it doesn't solve anything. It just perpetuates the problem by making us as bad as them. And we don't need any more of them, do we?

Rhythm of life runs in cycles there are times in the darkness and time in the light.

In Homers Ilias scheint Thetis jedenfalls keine Einwände gegen die Beziehung ihres Sohnes Achilles zu Patrokles gehabt zu haben. Und Königin Olympias von Makedonien (eine der mächtigsten Frauen der Antike, die angeblich ihren Mann ermorden ließ) hatte offenbar nichts dagegen, als ihr Sohn Alexander der Große seinen Geliebten Hephaestion zum Essen nach Hause brachte.

Altogether, Olympia thinks the sight of herself satisfactory, but not beautiful: a smile is missing, a certain light about the eyes. For how very different a woman will look when she has happiness, Olympia knows, when her beauty emanates from a sense of well-being or from knowing herself to be greatly loved. Even a plain woman will attract the eye if she is happy, while the most elaborately coiffed and bejeweled woman in a room, if she cannot summon contentment, will seem to be merely decorative.

You journey to Olympia to see the work of Phidias; and each of you holds it a misfortune not to have beheld these things before you die. Whereas when there is no need even to take a journey, but you are on the spot, with the works before you, have you no care to contemplate and study these? Will you not then perceive either who you are or unto what end you were born: or for what purpose the power of contemplation has been bestowed on you? "Well, but in life there are some things disagreeable and hard to bear." And are there none at Olympia? Are you not scorched by the heat? Are you not cramped for room? Have you not to bathe with discomfort? Are you not drenched when it rains? Have you not to endure the clamor and shouting and such annoyances as these? Well, I suppose you set all this over against the splendour of the spectacle and bear it patiently. What then? have you not received greatness of heart, received courage, received fortitude? What care I, if I am great of heart, for aught that can come to pass? What shall cast me down or disturb me? What shall seem painful? Shall I not use the power to the end for which I received it, instead of moaning and wailing over what comes to pass?

Thanks to Mr. Grose's Lexicon Balatronicum, Olympia knew a buffer nabber was a dog stealer.

Lilith looked down at the book.  “Olympia, Red, challenges Kyle, Orange!

You must be talking about my new friend. The woman named Tilda. - Olympias

(Diogenes) Bir gün Olympia'dan dönüyordu; çok kalabalık var mıydı, diye sorana, "Kalabalık çoktu, ama insan azdı" diye yanıt verdi.

Die young, stay pretty. Blondie, right? We think of it as a modern phenomenon, the whole youth thing, but really, consider all those great portraits, some of them centuries old. Those goddesses of Botticelli and Rubens, Goya's Maja, Madame X. Consider Manet's Olympia, which shocked at the time, he having painted his mistress with the same voluptuous adulation generally reserved for the aristocratic good girls who posed for depictions of goddesses. Hardly anyone knows anymore, and no one cares, that Olympia was Manet's whore; although there's every reason to imagine that, in life, she was foolish and vulgar and not entirely hygienic (Paris in the 1860s being what it was). She's immortal now, she's a great historic beauty, having been scrubbed clean by the attention of a great artist. And okay, we can't help but notice that Manet did not choose to paint her twenty years later, when time had started doing its work. The world has always worshipped nascence. Goddamn the world.

Exactly. They dumped gasoline all over the gym and set fire to it. When no one was there training, luckily,” Olympia says. “How can you be so sure it was them?” “They called me at home to let me know.

The rhythm of life runs in cycles. There are times in the darkness and times in the light. The energy of life is like the rain forest in Borneo. Things live, grow, die, fall to the forest floor, rot and then they are born again-Olympia Dukakis

Nor did these society people add to Elstir's work in their mind's eye that temporal perspective which enabled them to like, or at least to look without discomfort at, Chardin's painting. And yet the older among them might have reminded themselves that in the course of their lives they had gradually seen, as the years bore them away from it, the unbridgeable gulf between what they considered a masterpiece by Ingres and what they had supposed must forever remain a "horror" (Manet's Olympia, for example) shrink until the two canvases seemed like twins. But we never learn, because we lack the wisdom to work backwards from the particular to the general, and imagine ourselves always to be faced with an experience which has no precedents in the past.

... she suddenly looks different to Olympia, physically different, as though a portrait has been alterred. And Olympia thinks that possibly such adjustments might have to be made for everyone she knows. Upon meeting a person, a sketch is formed, and for the life of the relationship, however intimate or not, a portrait is painted, with oils or pastels or with black ink or with watercolor, and only at a persons's death can the portraits be considered finished. Perhaps not even at the person's death.

A significant number of human cultures have viewed homosexual relations as not only legitimate but even socially constructive, ancient Greece being the most notable example. The Iliad does not mention that Thetis had any objection to her son Achilles’ relations with Patroclus. Queen Olympias of Macedon was one of the most temperamental and forceful women of the ancient world, and even had her own husband, King Philip, assassinated. Yet she didn’t have a fit when her son, Alexander the Great, brought his lover Hephaestion home for dinner.

Before I found out about Olympia's punk scene, I thought that everyone making music was untouchable and magical. But when I saw Tobi from the Go Team at the Smithfield Café, I realized, She's in the Go Team and she goes to the same coffee shop I do. If she could be in a band, maybe I can too.

Ingram was, in 1988, Chairman of the Republican Party in Olympia, Washington, the chief civil deputy in the local sheriffs department, well-regarded, highly religious, and responsible for warning children in school assemblies of the dangers of drugs. Then came the nightmare moment when one of his daughters—after a highly emotional session at a fundamentalist religious retreat—leveled the first of many charges, each more ghastly than the previous, that Ingram had sexually abused her, impregnated her, tortured her, made her available to other sheriff’s deputies, introduced her to satanic rites, dismembered and eaten babies

[…] Stallone and I had been feuding for years. This went back to the early Rocky and Rambo days, when he was the number one action hero, and I was always trying to catch up. I remember saying to Maria when I made Conan the Destroyer, “I’, finally getting paid a million dollars for a movie, but now Stallone’s making three million. I feel like I’m standing still.” To energize myself, I’d envisioned Stallone as my archenemy, just like I had demonized [bodybuilder] Sergio Oliva when I was trying to take the Mr. Olympia crown. I got so into hating Sly that I started criticizing him in public –his body, the way he dressed- and I was quoted as badmouthing him in the press.

Olivia Carter, you have undone me. I am completely and utterly at your mercy.

Peró Abrines aviat es consolava: Mallorca i la vida, les dues tan sòlides, ¿no consistien, davant la novetat, més a rebutjar sense aclarir que no a acceptar després d’escoltar?

I think I *was* the lightning.

His mother, Olympias, was so worried about Alexander’s apparent lack of interest in girls that she procured for him the services of a beautiful Thracian prostitute named Callixeina in hopes of sparking his interest, but to no avail. It seems that the unrestrained passion and subsequent weariness of lovemaking deeply troubled the young man. As Alexander would confess years later, sex and sleep more than anything else reminded him that he was mortal.

It was very damp and misty–which some people from outside the Pacific Northwest consider to be rain, but I do not. This is typical weather for the Pacific Northwest and Olympia. It is often wet in Olympia, but we have an average of only 49.95 inches a year of actual precipitation. That’s less than in Denver. In Olympia, the air is damp, and water collects and drips from everywhere. We do not get big downpours, but we get damp and spongy. I don’t care. It helps the trees grow, and I climb the trees.

He led Jess to a painting of a Black woman selling flowers. She leaned in and read the wall plate. “Frédéric Bazille, Young Woman with Peonies. I don’t know this artist.” “He was in the outer circle of the French Impressionists. Look how she offers the bouquet to a potential client, but she doesn’t seem to care if he buys them or not. She’s got that little frown line between her eyes—see, there?—‘Take it or leave it, mister’—as if she’s impatient that he can’t make up his mind. She’s not a bit ingratiating. And the peonies, of course, are Bazille’s bisou to Manet, who was the leader of the French avant-garde at the time. Manet loved peonies, cultivated them. There’s a peony at the center of the bouquet that the Black servant is offering the prostitute in Manet’s Olympia. That painting was at the height of its notoriety when Bazille painted this one. Everyone in the Paris art world would’ve got the reference.” “A Black servant in Olympia? I only remember the scowly White nude, and how upset everyone was that Manet didn’t paint her in a classical style.” Theo pulled out his cell phone and called up the image with a few taps. “Here,” he said, handing it to Jess. “Wow. I’ve looked at that picture dozens of times. How could I not have noticed her?” Theo frowned. “I’d be surprised, I guess, except that I once sat through a forty-minute lecture on that painting and the professor didn’t mention her. He spent more time on the black cat at the nude’s feet than the interesting woman who occupies half the canvas. I call it the Invisible Man effect, or in this case, Invisible Woman. Which is kind of the whole point of my work. To say, Hey, we’re here. We’ve always been here.

Twenty years ago, I saw a shooter, went by the name Kid Crossdraw, I believe, though everyone just called her ‘The Kid.’ ” Tracy stopped. The Banker smiled and continued. “I saw her in Olympia. Best shooter I ever saw, until today. Never saw her again after that, though. She had a father and a sister that were pretty good too. You wouldn’t happen to have heard of her, would you?” “I have,” Tracy said. “But you’re mistaken.” “What about?” “She’s still the best shooter.” The Banker played with an end of his mustache. “I’d love to see it. Do you know where she might be competing next?” “I do,” Tracy said. “But you’re going to have to wait a bit. She’s shooting at higher targets now.

What shall be done to such an one? Doubtless some good thing, O men of Athens, if he has his reward; and the good should be of a kind suitable to him. What would be a reward suitable to a poor man who is your benefactor, and who desires leisure that he may instruct you? There can be no reward so fitting as maintenance in the Prytaneum, O men of Athens, a reward which he deserves far more than the citizen who has won the prize at Olympia in the horse or chariot race, whether the chariots were drawn by two horses or by many. For I am in want, and he has enough; and he only gives you the appearance of happiness, and I give you the reality. And if I am to estimate the penalty fairly, I should say that maintenance in the Prytaneum is the just return.

The floorboards creaked. She felt him come close behind her, a warmth, a presence that made her stiffen with awareness. "You have remarkable character, Princess. Your eyebrows are lovely. Your chin is adorable and your eyes are gorgeous. Your figure is... utterly splendid. Just about too splendid, if I may be forgiven for saying so. It's been damned hard to remember I'm a gentleman.

Mother Nature does not mind if men are sexually attracted to one another. It’s only human mothers and fathers steeped in particular cultures who make a scene if their son has a fling with the boy next door. The mother’s tantrums are not a biological imperative. A significant number of human cultures have viewed homosexual relations as not only legitimate but even socially constructive, ancient Greece being the most notable example. The Iliad does not mention that Thetis had any objection to her son Achilles’ relations with Patroclus. Queen Olympias of Macedon was one of the most temperamental and forceful women of the ancient world, and even had her own husband, King Philip, assassinated. Yet she didn’t have a fit when her son, Alexander the Great, brought his lover Hephaestion home for dinner.

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

One of Einstein’s clearest explanations of what he had wrought was in a letter to his Olympia Academy colleague Solovine: The theory of relativity can be outlined in a few words. In contrast to the fact, known since ancient times, that movement is perceivable only as relative movement, physics was based on the notion of absolute movement. The study of light waves had assumed that one state of movement, that of the light-carrying ether, is distinct from all others. All movements of bodies were supposed to be relative to the light-carrying ether, which was the incarnation of absolute rest. But after efforts to discover the privileged state of movement of this hypothetical ether through experiments had failed, it seemed that the problem should be restated. That is what the theory of relativity did. It assumed that there are no privileged physical states of movement and asked what consequences could be drawn from this.

She instantly lowered her face, staring at her lap, so that nothing was visible of her beyond the clusters of sunflower curls that framed the netted bun on top of her head. Intrigued by the curve of one plump cheek, he lifted her chin and made her look toward him, ignoring her flinch as he touched her. His first impression was of green eyes, wide as a baby owl's and just as solemn. Dumpling cheeks, a straight nose, and a firm little mouth- all ordinary, and all in common female proportion. There was nothing notably strange about her features- and yet it was an odd face, the kind of face that looked out of burrows and tree-knots and hedgerows, unblinking, innocent and as old as time. If she'd had whiskers to twitch it wouldn't have surprised him, so strong was the impression of a small, prudent wild creature with dark brows like furry markings. Strangely, she made him want to smile, as if he'd just pulled aside a branch and discovered a nightingale staring gravely back at him from its nest. He found himself reacting in the same way, consciously containing his moves and his voice, as if he might startle her away. "Hullo," he said softly, giving her a light, suggestive chuck beneath her plump chin as he let her go.

In the silence that roared in her ears he moved closer. He put his hands on her imperfect throat and lifted her imperfect chin and bent his head to her flawed and trembling lips. He kissed her. And she fell in love. Helplessly; hopelessly- a consummate disaster. She felt it happen while his mouth came against hers and his gloved fingers pressed into the tender skin behind her earlobes. It was something physical, a tangible wound, a terrible rent in the fabric of her life, as if her whole self had been torn from her body and replaced by something else entirely. Something that belonged not to her but to him. To her horror, that new, helpless, slavish self answered the kiss. She parted her lips beneath the pressure of his. Her fingers gave up their vehement hold on each other; they slid part and flattened against his chest, opening and closing like a cat's paw. A little aching sound came from her throat. His hold slackened for an instant. Only an instant, and before Olympia could break away, his hands slid forward and locked together behind her nape. The warm rush of his breath touched her skin: uneven and quick as he kissed her eyes and forehead and the corners of her lips. "Princess," he whispered. "My silly princess..." She cast down her lashes. It was impossible to look at him- unbearable. A whimper of miserable joy hung in the back of her throat.

The concept of absolute time—meaning a time that exists in “reality” and tick-tocks along independent of any observations of it—had been a mainstay of physics ever since Newton had made it a premise of his Principia 216 years earlier. The same was true for absolute space and distance. “Absolute, true, and mathematical time, of itself and from its own nature, flows equably without relation to anything external,” he famously wrote in Book 1 of the Principia. “Absolute space, in its own nature, without relation to anything external, remains always similar and immovable.” But even Newton seemed discomforted by the fact that these concepts could not be directly observed. “Absolute time is not an object of perception,” he admitted. He resorted to relying on the presence of God to get him out of the dilemma. “The Deity endures forever and is everywhere present, and by existing always and everywhere, He constitutes duration and space.”45 Ernst Mach, whose books had influenced Einstein and his fellow members of the Olympia Academy, lambasted Newton’s notion of absolute time as a “useless metaphysical concept” that “cannot be produced in experience.” Newton, he charged, “acted contrary to his expressed intention only to investigate actual facts.”46 Henri Poincaré also pointed out the weakness of Newton’s concept of absolute time in his book Science and Hypothesis, another favorite of the Olympia Academy. “Not only do we have no direct intuition of the equality of two times, we do not even have one of the simultaneity of two events occurring in different places,” he wrote.

My greetings and constant love to Emory and my grandchildren. I am well and continue to make my rounds with the news of the day and as always am well-received in the towns of which we have more than a few now as the Century grows older and the population increases so that large crowds come to hear reportage of distant places as well as those nearby. I enjoy good health as always and hope that Emory is doing well using his left hand now and look forward to an example of his handwriting. It is true what Elizabeth has said about employment for a one-armed man but that concerns manual labor only and at any rate there should be some consideration for a man who has lost a limb in the war. As soon as he is adept with his left I am sure he will consider Typesetting, Accounting, Etc. & Etc. Olympia is I am sure a steady rock to you all. Olympia’s husband, Mason, had been killed at Adairsville, during Johnston’s retreat toward Atlanta. The man was too big to be a human being and too small to be a locomotive. He had been shot out of the tower of the Bardsley mansion and when he fell three stories and struck the ground he probably made a hole big enough to bury a hog in. The Captain’s younger daughter, Olympia, was in reality a woman who affected helplessness and refinement and had never been able to pull a turnip from the garden without weeping over the poor, dear thing. She fluttered and gasped and incessantly tried to demonstrate how sensitive she was. Mason was a perfect foil and then the Yankees went and killed him. Olympia was now living with Elizabeth and Emory in the remains of their farm in New Hope Church, Georgia, and was quite likely a heavy weight. He put one hand to his forehead. My youngest daughter is in reality a bore. There was a pounding on the wall: Kep-dun! Kep-dun!

The other evening, in that cafe-cabaret in the Rue de la Fontaine, where I had run aground with Tramsel and Jocard, who had taken me there to see that supposedly-fashionable singer... how could they fail to see that she was nothing but a corpse? Yes, beneath the sumptuous and heavy ballgown, which swaddled her and held her upright like a sentry-box of pink velvet trimmed and embroidered with gold - a coffin befitting the queen of Spain - there was a corpse! But the others, amused by her wan voice and her emaciated frame, found her quaint - more than that, quite 'droll'... Droll! that drab, soft and inconsistent epithet that everyone uses nowadays! The woman had, to be sure, a tiny carven head, and a kind of macabre prettiness within the furry heap of her opera-cloak. They studied her minutely, interested by the romance of her story: a petite bourgeoise thrown into the high life following the fad which had caught her up - and neither of them, nor anyone else besides in the whole of that room, had perceived what was immediately evident to my eyes. Placed flat on the white satin of her dress, the two hands of that singer were the two hands of a skeleton: two sets of knuckle-bones gloved in white suede. They might have been drawn by Albrecht Durer: the ten fingers of an evil dead woman, fitted at the ends of the two overlong and excessively thin arms of a mannequin... And while that room convulsed with laughter and thrilled with pleasure, greeting her buffoonery and her animal cries with a dolorous ovation, I became convinced that her hands no more belonged to her body than her body, with its excessively high shoulders, belonged to her head... The conviction filled me with such fear and sickness that I did not hear the singing of a living woman, but of some automaton pieced together from disparate odds and ends - or perhaps even worse, some dead woman hastily reconstructed from hospital remains: the macabre fantasy of some medical student, dreamed up on the benches of the lecture-hall... and that evening began, like some tale of Hoffmann, to turn into a vision of the lunatic asylum. Oh, how that Olympia of the concert-hall has hastened the progress of my malady!

As Olympia Morata said, “He gave me the mind and talent to be so on fire with love for learning that no one could keep me from it . . . . Everything is done according to His plan and purpose, and He does nothing rashly or thoughtlessly. So all these things perhaps will be for His glory and my betterment.”2

Olympia offered wise advice to her friends, exhorting them to read the Bible, “Therefore seek Christ. Have no doubt: you will find Him in the books of the Old and New Testament, nor can he be found anywhere else. Pray to Him. Your labor will not be in vain.

I can tell in the morning, just by looking at him, how our day’s going to go. Sometimes he’s yummy, sort of like Tom Cruise. Others he’s more Robin Williams, you know, Mork from Ork. When Freddy Krueger’s on the pillow next to me, I know it’s not going to be a good day.” —Sam, Olympia, WA

in Plutarch’s account of the birth of Alexander the Great, mother Olympias got pregnant from a snake; it was announced by a bolt of lightning that sealed her womb so that her husband Philip could not have sex with her.

Religious structures represent just one facet of the precious art and architectural heritage of the Greek Isles, where splendid built sites vie with natural wonders for spectacular beauty and interest. Kárpathos and Kíthnos boast rows of picturesque windmills along a rugged coastline. On Santorini, whitewashed villas cling to precipitous cliffs, rising above a turquoise sea. Classical and earlier ruins are eerie reminders of the past on the now-uninhabited island of Delos, which, along with Athens, Olympia, and Delphi, was one of the most important sanctuaries of the ancient world.

Known as “Leni,” Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920’s Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film “Das Blaue Licht.” With the advent of the Hitler era she directed “Triumph des Willens” anf “Olympia” which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the “Eastern Front.” Seeing a bleak future “Leni” Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.

At Gold’s Gym I met Mr. Olympia, Arnold Schwarzenegger. One day Jackie and I strolled past Arnold and a female on the boardwalk at Venice Beach. Indicating me, Arnold said to his companion, “See that guy there? Those aren’t arms—they’re legs.

Leo sighed. “Talk to the pants, Piper! ’Cause the hands are busy!” “I am not talking to the pants. Meeting in the mess hall. We’re almost to Olympia.

Greece’s children, stars scattered over distant shores, connected by the one heartbeat, they dream the same dream. Distanced and sometimes displaced, yet strong enough to hold up the sky.

How dare those men judge her? They’d created her. A woman can’t sell her body without clients to buy it.

Child born of sand and stone, Built from flesh, blood, lightning, and bone In five moons’ time, a child of Jove After seventeen years, time stands still in the Grove. Two blue eyes, two eyes dark, Their power will be the Spark. Neither can live if the other dies, In one thousand years, these children rise.

Olympia,

long-ago memory. It was spring. I was eight years old. Bulldozers had recently cleared a patch of forest behind our house in the suburbs of Olympia to make room for a new subdivision. Maxine and I were forbidden to play in the tangle of felled trees, but of course we did. What kids wouldn’t? It was a gigantic fort full of nooks and crannies and passageways. We nicknamed it the Beaver Dam. One afternoon Max and I had been

Living in Olympia, we had lost perspective on what a traditional group looked or sounded like; band configurations were abnormal, either multi-limbed or conspicuously amputated.