Ore Quotes

I believe that today more than ever a book should be sought after even if it has only one great page in it. We must search for fragments, splinters, toenails, anything that has ore in it, anything that is capable of resuscitating the body and the soul.

Times of great calamity and confusion have been productive for the greatest minds. The purest ore is produced from the hottest furnace. The brightest thunder-bolt is elicited from the darkest storm.

Ascente cha ores ri ve breazza." "Turn your ear to the wind," she interpreted. "Stand strong.

Everything has its limit - iron ore cannot be educated into gold.

What do you two talk about, anyway?" I asked curiously. I still didn't quite understand Genya's fascination with the Fabrikator. She sighed. "The usual. Life. Love. The melting point of iron ore.

Yes, but you need to learn your maths." "I don't need to, really. I already know how to count to a hundred. And I'm sure I'll never need ore than a hundred of anything.

You know,” OreSeur muttered quietly, obviously counting on her tin to let Vin hear him, “it seems that these meetings would be more productive if someone forgot to invite those two.” Vin smiled. “They’re not that bad,” she whispered. OreSeur raised an eyebrow. “Okay,” Vin said. “They do distract us a little bit.” “I could always eat on of them, if you wish,” OreSeur said. “That might speed things up.” Vin paused. OreSeur, however had a strange little smile on his lips. “Kandra humor, Mistress. I apologize. We can be a bit grim.” Vin smiled. “They probably wouldn’t taste very good anyway. Ham’s far too stringy, and you don’t want to know the kinds of things that Breeze spends his time eating….” “I’m not sure,” OreSeur said. “One is, after all, named ‘Ham.’ As for the other…” He nodded to the cup of wine in Breeze’s hand. “He does seem quite fond of marinating himself.

Vin shook her head. "No, not me. I'm not a good person or a bad person. I'm just here to kill things." OreSeur watched her for a moment, then settled back down. "Regardless," he said, "you are not my worst master. That is, perhaps, a compliment among our people.

The ship is sinking The ship is sinking There's leak, there's a leak,in the boiler room The poor, the lame, the blind Who ore the ones that we kept in charge Killers, thieves, and lawyers God's Away, God's away God's away on Business

The product of paper and printed ink, that we commonly call the book, is one of the great visible mediators between spirit and time, and, reflecting zeitgeist, lasts as long as ore and stone.

They’d been forged of the same ore, two sides of the same golden, scarred coin. She’d know it when she spied him atop the execution plataform. She couldn’t explain it. No one could understand that instant bond, that soul-deep assurance and rightness, unless they, too, had experienced it. But she owned no explanations to anyone - not about Aedion.

Oh,to be walking through Leningrad white night after white night, the dawn to dusk all smelting together like platinum ore, Tatiana thought, turning away to the wall, again to the wall, the wall, as ever. Alexander, my nights, my days, my every thought. You will fall away from me in just a while, won't you, and I'll be whole again, and I will go on and feel for someone else, the way everyone does. But my innocence is forever gone.

I don't want any inheritance from my father. Do whatever the hell you want with it." "Wrong. You can do what you want with the inheritance. My job is to see to it that you have the opportunity to do so." "I don't want a single ore from that pig." "Then give the money to the Greenpeace or something." "I don't give a shit about whales.

È sempre più forte di me. Lo è sempre stato. Perché a lui basta una parola per farmi male. Anzi, anche meno: una parola non detta, un silenzio, una pausa. Uno sguardo rivolto altrove. Io posso sbraitare e dimenarmi per ore, passare alle ingiurie, mentre a lui per stendermi basta una piccola smorfia, fatta con un angolo del labbro.

Realmente nunca comprenderás a otras personas hasta que aprendas a mirar a través de sus ojos, escuchar a través de sus oídos, y sentir con sus corazones.

I believe that today more than ever a book should be sought after even if it has only one great page in it: we must search for fragments, splinters, toenails, anything that has ore in it, anything that is capable of resuscitating the body and soul. It may be that we are doomed, that there is no hope for us, any of us, but if that is so then let us set up a last agonizing, bloodcurdling howl, a screech of defiance, a war whoop! Away with lamentation! Away with elegies and dirges! Away with biographies and histories, and libraries and museums! Let the dead eat the dead. Let us living ones dance about the rim of the crater, a last expiring dance. But a dance!

O musculiță efemeră se naște la nouă dimineață, în lungile zile de vară, ca să moară la cinci seara; cum ar putea ea înțelege cuvântul noapte? Mai dă-i cinci ore de viață, și ea va vedea și va înțelege ce e noaptea.

When true happiness shows up, the ego is bored with it: It's too plain, too ordinary, and it doesn't leave us feeling special or above the fray. It doesn't take away our problems, which is the ego's idea of happiness. The ego wants no more difficulties: no ore sickness, no more need for money, no more work, no more bad feelings, only unending pleasure and bliss. Such perfection is the ego's idea of a successful life. However, the happiness the ego dreams of will never be attained by anyone. The ego denies the reality of this dimension, where challenges are necessary to evolution and blissful states and pleasure come and go.

Cosa farei senza libri? Ne ho la casa piena, eppure non mi bastano mai. Vorrei avere una giornata di trentasei ore per poter leggere a mio piacere. Tengo libri di tutte le dimensioni: da tasca, da borsa, da valigia, da taschino, da scaffale, da tavolo. E ne porto sempre uno con me. Non si sa mai: se trovo un momento di tempo, se mi fanno aspettare in un ufficio, che sia alla posta o dal medico, tiro fuori il mio libro e leggo. Quando ho il naso su una pagina non sento la fatica dell'attesa. E, come dice Ortega y Gasset, in un libro mi "impaeso", a tal punto che mi è difficile spaesarmi. Esco dai libri con le pupille dilatate. Lo considero il piacere più grande, più sicuro, più profondo della mia vita.

On evil's cushion poised, His Majesty, Satan Thrice-Great, lulls our charmed soul, until He turns to vapor what was once our will: Rich ore, transmuted by his alchemy.

It was July of 1867, that confederation was signed It was a long and difficult task, like ore extracted and mined

Who would not have been laughed at if he had said in 1800 that metals could be extracted from their ores by electricity or that portraits could be drawn by chemistry. {Commenting on Henri Becquerel's process for extracting metals by voltaic means.}

So much of love is curiousity, a search inside the other for some little piece of self; emerging from the bear cave of them with your birthday candle and filament of ore: the same as that I'm made of!

Offrire in dono un libro equivaleva ad impacchettare, oltre al volume, anche le ore, i pensieri, le riflessioni spese nei riguardi della persona che lo riceveva.

The prophecies are not literal, Mistress," OreSeur said. "They're metaphors - expressions of hope. Or, at least, that is how I have always seen them. Perhaps your Terris prophecies are the same? Expressions of a belief that if the people were in danger, their gods would send a Hero to protect them? In this case, the vagueness would be intentional - and rational. The prophecies were never meant to mean something specific, but more to speak of a general feeling. A general hope.

I figli sono come orologi che non si possono ignorare; segnano l'inesorabile marcia della vita attraverso quello che altrimenti sembrerebbe un infinito are di minuti, ore, giorni, e anni.

You can discover just as much from what people don't say to you, as what they do. It's not enough to listen to their words. You have to mine their silences for buried ore. It's often only in the lies we refuse to speak that any truth can be heard at all.

From the time he was young, he dressed the way you told him to dress; he acted the way you told him to act; he said the things you told him to say. He's been listening to somebody else tell him what to do... He hasn't changed. He is still listening to somebody else tell him what to do. The problem is, it isn't you any,ore; it's his peers.

If you are the lantern, I am the flame; If you are the lake, then I am the rain; If you are the desert, I am the sea; If you are the blossom, I am the bee; If you are the fruit, then I am the core; If you are the rock, then I am the ore; If you are the ballad, I am the word; If you are the sheath, then I am the sword.

People used to think gold was worth fightin’ over, and that shit gets made by every supernova, which means pretty much every planet around a G2 star will have some. Stars burn through lithium as fast as they make it. All the available ore got made at the big bang, and we’re not doin’ another one of those. Now that’s scarcity, friend.

Early on I realized that I had to hire people smarter and ore qualified than I was in a number of different fields, and I had to let go of a lot of decision-making. I can't tell you how hard that is. But if you've imprinted your values on the people around you, you can dare to trust them to make the right moves.

Oree," she would say whenever I sought to prove my independence, "it's all right to need help. All of us have things we can't do alone.

It was chance. A random series of events given meaning by somone desperate to prove there's a design to our lives. That the minutes and hours between our birth and death are ore than frantic moments of chaos. Because if that's all they are - if there are no rules governing our lives - then our entire existence is a meaningless farce.

It had seemed like the beginning of happiness, and Clarissa is still sometimes shocked, more than thirty years later, to realize that it was happiness; that the entire experience lay in a kiss and a walk, the anticipation of dinner and a book. The dinner is by now forgotten; Lessing has been long overshadowed by other writers; and even the sex, once she and Richard reached that point, was ardent but awkward, unsatisfying, ore kindly than passionate. What lives undimmed in Clarissa's ind more than three decades later is a kiss at dusk on a patch of dead grass, and a walk around a pond as mosquitoes droned in the darkening air. There is still that singular perfection, and it's perfect in part because it seemed, at the tie, so clearly to promise more. Now she knows: That was the moment, right then. There has been no other.

It's not enough to listen to their words. You have to mine their silences for buried ore. It's often only in the lies that we refuse to speak that truth can be heard at all.

Ci sono ore normali, e poi ci sono ore invalide, durante le quali il tempo si ferma e scivola via, in cui la vita - la vita reale - sembra scorrere su un binario parallelo.

-In cuor di donna quanto dura amore? (Ore) -Ed ella non mi amò quant'io l'amai? (Mai) -Or chi sei tu sì ti lagni meco? (Eco)

They are among the three hundred million Africans who earn less than a dollar a day, and who are often pushed out of the way or killed for such things as oil, water, metal ore, and diamonds.

Ogni tanto, nelle giornate di vento, scendeva fino al lago e passava ore a guardarlo, giacché, disegnato sull'acqua, gli pareva di vedere l'inspiegabile spettacolo, lieve, che era stata la sua vita.

come deve essere, mi chiedo, vivere in un mondo in cui i pasti compaiono premendo premendo un pulsante? Come passerei le ore che di solito dedico a setacciare i boschi, se il cibo fosse così facile da trovare?

«Tu hai le spine, Ryan. E graffiano e pungono. E ci sono volte, come questa, in cui i graffi bruciano per ore.»

Gimdyti apsižergus kapą ir kančiose gimti. Duobėje duobkasys svajingai tvarkosi įrankius. Lieka laiko susenti. Ore skamba mūsų riksmai.

We don't change as we get older - we just get to be ore of what we've always been.

Uno, non toccare le lancette. Due, domina la rabbia. Tre, non innamorarti mai è poi mai. Altrimenti, nell'orologio del tuo cuore, la grande lancetta delle ore ti trafiggerà per sempre la pelle, le tue ossa si frantumeranno e la meccanica del cuore andrà di nuovo in pezzi

London had accumulated the lion’s share of both the world’s silver ore and the world’s languages, and the result was a city that was bigger, heavier, faster, and brighter than nature

I love you. As the same value, as the same expression, with the same pride and the same meaning as I love my work, my mills, my Metal, my hours at a desk, at a furnace, in a laboratory, in an ore mine, as I love my ability to work, as I love the act of sight and knowledge, as I love the action of my mind when it solves a chemical equation or grasps a sunrise, as I love the things I've made and the things I've felt, as *my* product, as *my* choice, as a shape of my world, as my best mirror, as the wife I've never had, as that which makes all the rest of it possible: as my power to live.

If you pay attention to those aspects of God that demonstrate love, truth, beauty, intelligence, order, and spiritual evolution, those aspects will begin to expand in your life. Bit by bit, like a mosaic, disparate fragments of grace will merge to form a complete picture. Eventually this picture will replace the ore threatening one you have carried around inside you since infancy.

And, Legolas, when the torches are kindled and men walk on the sandy floors under the echoing domes, ah! Then, Legolas, gems and crystals and veins of precious ore glint in the polished walls; and the light glows through folded marbles, shell-like, translucent as the living hands of Queen Galadriel. There are columns of white and saffron and dawn-rose, Legolas, fluted and twisted into dreamlike forms; they spring up from many-coloured floors to meet the glistening pendants of the roof: wings, ropes, curtains fine as frozen clouds; spears, banners, pinnacles of suspended palaces! Still lakes mirror them: a glimmering world looks up from dark pools covered with clear glass; cities, such as the mind of Durin could scarce have imagined in his sleep, stretch on through avenues and pillared courts, on into the dark recesses where no light can come, And plink! A silver drop falls, and the round wrinkles in the glass make all the towers bend and waver like weeds and corals in a grotto of the sea. Then evening comes:” they fade and twinkle out; the torches pass on into another chamber and another dream. There is chamber after chamber, Legolas; hall opening out of hall, dome after dome, stair beyond stair; and still the winding paths lead on into the mountains’ heart. Caves! The Caverns of Helm’s Deep! Happy was the chance that drove me there! It makes me weep to leave them.

Sorrow is so woven through us, so much a part of our souls, or at least any understanding of our souls that we are able to attain, that every experience is dyed with its color. This is why, even in moments of joy, part of that joy is the seams of ore that are our sorrow. They burn darkly and beautifully in the midst of joy, and they make joy the complete experience that it is. But they still burn.

This kindness, this stupid kindness, is what is most truly human in a human being. It is what sets man apart, the highest achievement of his soul. No, it says, life is not evil! This kindness is both senseless and wordless. It is instinctive, blind. When Christianity clothed it in the teachings of the Church Fathers, it began to fade; its kernel became a husk. It remains potent only while it is dumb and senseless, hidden in the living darkness of the human heart – before it becomes a tool or commodity in the hands of preachers, before its crude ore is forged into the gilt coins of holiness. It is as simple as life itself. Even the teachings of Jesus deprived it of its strength. But, as I lost faith in good, I began to lose faith even in kindness. It seemed as beautiful and powerless as dew. What use was it if it was not contagious? How can one make a power of it without losing it, without turning it into a husk as the Church did? Kindness is powerful only while it is powerless. If Man tries to give it power, it dims, fades away, loses itself, vanishes.

Lau­ren," he began gravely, "I would like four daugh­ters with wob­bly blue eyes and stu­dious horn-rimmed glasses on their lit­tle noses. Also, I've be­come very par­tial to your honey-col­ored hair, so if you could man­age…

Rimanemmo così, in silenzio, per un paio d’ore. Era come nutrirci di qualcosa che non sapevamo esistesse. E, in quel momento, capimmo che non avremmo mai più potuto essere da soli, senza essere l’uno la solitudine dell’altro.

But I was also becoming aware of the changes in my own energy as I walked over different kinds of terrain. Sometimes there was clay under my feet, sometimes iron ore, sometimes quartz or copper. I wanted to try to understand the connections between human energy and the earth itself. In

Un uomo che dorme tiene in cerchio intorno a sé il filo delle ore, l'ordine degli anni e dei mondi. Svegliandosi li consulta d'istinto e vi legge in un attimo il punto che occupa sulla terra, il tempo che è trascorso fino al suo risveglio.

There are those who believe knowledge is something that is acquired - a precious ore hacked, as it were, from the grey strata of ignorance. There are those who believe that knowledge can only be recalled, that there was some Golden Age in the distant past when everything was known and the stones fitted together so you could hardly put a knife between them, you know, and it's obvious they had flying machines, right, because of the way the earthworks can only be seen from above, yeah? and there's this museum I read about where they found a pocket calculator under the altar of this ancient temple, you know what I'm saying? but the government hushed it up... Mustrum Ridcully believed that knowledge could be acquired by shouting at people, and was endeavouring to do so.

Waves crack with wicked fury against me ship's hull while ocean currents rage as the full moon rises o're the sea." (Cutthroat's Omen: A Crimson Dawn)

Ripples shoot across my body, shooting from his thumb straight to my ore as he continues caressing my face, all the time watching me with those breathtaking, heartbreaking, beautiful blue eyes as though engrossed. His voice is velvet on my skin. “Until I saw this lovely girl in Seattle, with big gold eyes, and punk, full lips…and I wondered if she could understand me…

For the natural polytheist, whose gods arise in and from the natural material world, this challenge is not even always a metaphor. Our gods not only have transcendent eyes and metaphysical hands. They have antlers and feathers, hooves and scales, fangs and horns and wings and fins and claws. They are in the lands we strip for veins of precious ore. They are in the waters we poison.

The words we did not shout, the tears unshed, the curse we swallowed, the phrase we shortened, the love we killed, turned into magnetic iron ore, into tourmaline, into pyrite agate, blood congealed into cinnabar, blood calcinated, leadened into galena, oxidized, aluminized, sulphated, calcinated, the mineral glow of dead meteors and exhausted suns in the forest of dead trees and dead desires.

Amore non è amore Se muta quando scopre un mutamento O tende a svanire quando l‘altro s‘allontana. Oh no! Amore è un faro sempre fisso Che sovrasta la tempesta e non vacilla mai; È la stella che guida di ogni barca, Il cui valore è sconosciuto, benché nota la distanza. Amore non è soggetto al Tempo, pur se rosee labbra E gote dovran cadere sotto la sua curva lama; Amore non muta in poche ore o settimane, Ma impavido resiste al giorno estremo del giudizio; Se questo è un errore e mi sarà provato, Io non ho mai scritto, e nessuno ha mai amato.

her choice to be, not only a poet but a woman who explored her own mind, without any of the guidelines of orthodoxy. To say "yes" to her powers was not simply a major act of nonconformity in the nineteenth century; even in our own time it has been assumed that Emily Dickinson, not patriarchal society, was "the problem." The ore we come to recognise the unwritten and written laws and taboos underpining patriarchy, the less problematical, surely, will seem the methods she chose.

My only regret is that no one told me at the beginning of my journey what I'm telling you now: there will be an end to your pain. And once you've released all those pent-up emotions, you will experience a lightness and buoyancy you haven't felt since you were a very young child. The past will no longer feel like a lode of radioactive ore contaminating the present, and you will be able to respond appropriately to present-day events. You will feel angry when someone infringes on your territory, but you won't overreact. You will feel sad when something bad happens to you, but you won't sink into despair. You will feel joy when you have a good day, and your happiness won't be clouded with guilt. You, too, will have succeeded in making history, history.

It was a familiar sneer: the exact one that filled my own heart every time someone tried to tell me earnestly about how I would really clear my chakras if only I would wear this set of beads or that magnetic copper bracelet. They’d always get wound up when I told them that putting on a thing churned out of a machine from ore that had been strip-mined by underpaid laborers wasn’t likely to improve my mana balance any.

In un altro tempo io ero il falco e vivevo di giorno: della vita vedevo le luci. Lui era il lupo e viveva di notte: della vita vedeva le ombre. Io ero sempre in ritardo, mentre lui correva alla velocità del suono. Com’è logico supporre, non ci saremmo mai potuti incontrare, se non si fosse creato uno squarcio nel tempo per cui ci trovammo nello stesso luogo nell’istante in cui io non ero ancora un falco, e lui aveva già smesso di essere un lupo. Per ventiquattro ore appena sovvertimmo l’ordine del tempo, finché il giorno divenne notte e la notte divenne giorno, e il falco vide attraverso le ombre, senza esserne aggredito, e il lupo guardò verso la luce, senza esserne accecato. Poi io mi rituffai nella lentezza dei miei giorni, e lui riprese a correre nella frenesia delle sue notti. E ora vorrei non desiderare di ricondurlo dentro al mondo insieme a me. Vorrei non osservare ogni suo gesto segreto cercando di capire se posso accettare quella segretezza dentro la mia vita, e conoscere già la risposta. Vorrei non provare vergogna di me stessa al pensiero che lui non mi avrebbe ancora chiesto niente di tutto questo. Mi fa rabbia la sua lucida follia, che sottintende un coraggio più grande del mio. Ci vuole coraggio per essere pazzi, perché il mondo non ce lo permette.

Because I think I saw you, yesterday morning when I woke up. I think my eyes worked again, just for a moment, and you were the light I saw.

[M]ore than they wanted freedom, the Athenians wanted security. Yet they lost everything—security, comfort, and freedom. This was because they wanted not to give to society, but for society to give to them. The freedom they were seeking was freedom from responsibility. It is no wonder, then, that they ceased to be free. In the modern world, we should recall the Athenians' dire fate whenever we confront demands for increased state paternalism.

Sindromul Repetitiv îi împingea să învețe toată viața pe brânci. Multă vreme a fost tratat ca o modă. Oamenii lucrau ziua, iar seara se duceau să mai facă o școală. Se așezau în bănci, scriau ore în șir, apoi dădeau examene între ei. Dacă cineva încerca să-i trateze, să le închidă clasele, deveneau apatici, mâncau tot ce găseau, până ajungeau ca niște piftii și le pierea cheful de viață, dacă viață puteai numi ceea ce trăiau ei. Era celebru cazul unei femei care la 121 de ani era studentă la medicină, deși îi tremura mâna.

He looked at the granite. To be cut, he thought, and made into walls. He looked at a tree. To be split and made into rafters. He looked at a streak of rust on the stone and thought of iron ore under the ground. To be melted and to emerge as girders against the sky. These rocks, he thought, are waiting for me; waiting for the drill, the dynamite and my voice; waiting to be split, ripped, pounded, reborn; waiting for the shape my hands will give them.

Lenea e aproape tot atât de tare ca şi viaţa. Banalitatea noii farse pe care trebuie s-o joci te copleşeşte şi, una peste alta, ai nevoie de mai multă laşitate decât curaj ca s-o iei de la capăt. Ăsta-i exilul, străinătatea, această inexorabilă observare a existenţei aşa cum e ea de-adevărat în cursul celor câteva ore lucide, excepţionale, din urzeala timpului omenesc, când obiceiurile ţării dinainte te părăsesc, fără ca celelalte, cele noi, să te fi îndobitocit îndeajuns.

un'eco di malinconia, sfuggita al suo controllo, perdersi nella miriade di pezzi che componevano il mosaico.«Eloise è tutta la mia vita».Non aveva avuto l'intenzione di dire nulla, in realtà non stava nemmeno pensando direttamente a lei.«Era appena nata e già insistevo per poterla prendere in braccio. Volevo sempre tenerla io, passavo ore a guardarla. Tanto che alla fine la prima volta che ha aperto gli occhi l'avevo in grembo e ha visto me. Tutti nella mia famiglia avevano gli occhi chiari mentre i suoi erano scurissimi. Mi innamorai all'istante», rise dolcemente. «Avevo tre anni e da allora non ho mai pensato nemmeno per un momento che potesse esserci un'altra.

Vielleicht, daß ich durch schwere Berge gehe in harten Adern, wie ein Erz allein; und bin so tief, daß ich kein Ende sehe und keine Ferne: alles wurde Nähe und alle Nähe wurde Stein. Ich bin ja kein Wissender im Wehe,— so macht mich dieses große Dunkel klein; bist Du es aber: mach dich schwer, brich ein: daß deine ganze Hand an mir geschehe und ich an dir mit meinem ganzen Schrein. It's possible I'm moving through the hard veins of heavy mountains, like the ore does, alone; I'm already so deep inside, I see no end in sight, and no distance: everything is getting near and everything getting near is turning to stone. I still can't see very far yet into suffering,— so this vast darkness makes me small; are you the one: make yourself powerful, break in: so that your whole being may happen to me, and to you may happen, my whole cry.

My love lies across linen sheets, snow white beneath cream coloured flesh an expanse of gentle curves,two rosy buds a dimple of a navel a dark thatch of curls I can describe her beauty And spill precious ink to tell of her goodness But to express my love... Come to my arms, and I'll whisper words I dare not write. How you could damn ore save me with just a word Let me love you with my body the sacred dance of one My Julia

The way we see the world shapes the way we treat it. If a mountain is a deity, not a pile of ore; if a river is one of the veins of the land, not potential irrigation water; if a forest is a sacred grove, not timber; if other species are biological kin, not resources; or if the planet is our mother, not an opportunity -- then we will treat each other with greater respect. Thus is the challenge, to look at the world from a different perspective.

pictured us content, rather than happy, because in reality, happiness is an unachievable concept designed to keep people unhappy and spending money on things they don’t need.

Forse è vero, come sosteneva mia madre, che ognuno di noi ha una quota prediletta in montagna, un paesaggio che gli somiglia e dove si sente bene. La sua era senz'altro il bosco dei 1500 metri, quello di abeti e larici, alla cui ombra crescono il mirtillo, il ginepro e il rododendro, e si nascondono i caprioli. Io ero più attratto dalla montagna che viene dopo: prateria alpina, torrenti, torbiere, erbe d'alta quota, bestie al pascolo. Ancora più in alto la vegetazione scompare, la neve copre ogni cosa fino all'inizio dell'estate e il colore prevalente è il grigio della roccia, venato dal quarzo e intarsiato dal giallo dei licheni. Lì cominciava il mondo di mio padre. Dopo tre ore di cammino i prati e i boschi lasciavano il posto alle pietraie, ai laghetti nascosti nelle conche glaciali, ai canaloni solcati dalle slavine, alle sorgenti di acqua gelida. La montagna si trasformava in un luogo più aspro, inospitale e puro: lassù lui diventava felice. Ringiovaniva, forse, tornando ad altre montagne e altri tempi. Anche il suo passo sembrava perdere peso e ritrovare un'agilità perduta.

Consider that the earth is a processing plant, a factory. Picture a tumbler used to polish rocks: a rolling drum filled with water and sand. Consider that your soul is dropped in as an ugly rock, some raw mineral or natural resource, crude oil, mineral ore. And all conflict and pain is the abrasive that rubs us, polishes our soul, refines us, teaches and finishes us over lifetime after lifetime.

The most dangerous myth is the demagoguery that business can be made to pay a larger share, thus relieving the individual. Politicians preaching this are either deliberately dishonest, or economically illiterate, and either one should scare us. Business doesn't pay taxes, and who better than business to make this message known? Only people pay taxes, and people pay as consumers every tax that is assessed against a business. Begin with the food and fiber raised in the farm, to the ore drilled in a mine, to the oil and gas from out of the ground, whatever it may be -- through the processing, through the manufacturing, on out to the retailer's license. If the tax cannot be included in the price of the product, no one along that line can stay in business.

Somewhere in those weeks Tatiana’s innocence was lost. The innocence of honesty was gone forever, for she knew she would have to live in deceit, every day in verse and prose, in close quarters, in the same bed, every night when her foot touched Dasha’s, she would live in deceit. Because she felt for him. But what Tatiana felt for Alexander was true. What Tatiana felt for Alexander was impervious to the drumbeat of conscience. Oh, to be walking through Leningrad white night after white night, the dawn and the dusk all smelting together like platinum ore, Tatiana thought, turning away to the wall, again to the wall, to the wall, as ever. Alexander, my nights, my days, my every thought. You will fall away from me in just a while, won’t you, and I’ll be whole again, and I will go on and feel for someone else, the way everyone does. But my innocence is forever gone.

XIV. Of all men they alone are at leisure who take time for philosophy, they alone really live; for they are not content to be good guardians of their own lifetime only. They annex ever age to their own; all the years that have gone ore them are an addition to their store. Unless we are most ungrateful, all those men, glorious fashioners of holy thoughts, were born for us; for us they have prepared a way of life. By other men's labours we are led to the sight of things most beautiful that have been wrested from darkness and brought into light; from no age are we shut out, we have access to all ages, and if it is our wish, by greatness of mind, to pass beyond the narrow limits of human weakness, there is a great stretch of time through which we may roam. We may argue with Socrates, we may doubt32 with Carneades, find peace with Epicurus, overcome human nature with the Stoics, exceed it with the Cynics. Since Nature allows us to enter into fellowship with every age, why should we not turn from this paltry and fleeting span of time and surrender ourselves with all our soul to the past, which is boundless, which is eternal, which we share with our betters?

I have a theory," she said. I nodded at her to continue and she said, "There's this fireplace downstairs. I think I went down there for some reason. To hide, maybe. I thought it was all my fault my mother died. And I hit my head on the marble. My brain bled. I died." She watched me. "Right," I said. "I don't think that's possible." "Why don't you think it's possible?" she asked. "Because everyone can see me?" "It's not that. It's just that it seems to me that the dead only return for love or for revenge. Who did you come back for?" Neither of us smiled. I felt light-headed I couldn't believe that we were discussing this. "Love or revenge," she sighed. "Neither." "Miranda," I said, "You're not dead. Okay?" "Ore," she said. "I'm not alive.

Brother, these last two months I've found in myself a new man. A new man has risen up in me. He was hidden in me, but would never have come to the surface, if it hadn't been for this blow from heaven. I am afraid! And what do I care if I spend twenty years in the mines, breaking ore with a hammer? I am not a bit afraid of that- it's something else I am afraid of now: that that new man may leave me. Even there, in the mines, underground, I may find a human heart in another convict and murderer by my side, and I may make friends with him, for even there one may live and love and suffer. One may thaw and revive a frozen heart in that convict, one may wait upon him for years, and at last bring up from the dark depths a lofty soul, a feeling, suffering creature; one may bring forth an angel, create a hero! There are so many of them, hundreds of them, and we are all to blame for them.

More and more the world resembles an entomologist's dream. The earth is moving out of its orbit, the axis has shifted; from the north the snow blows down in huge knife-blue drifts. A new ice age is setting in, the transverse sutures are closing up and everywhere throughout the corn belt the fetal world is dying, turning to dead mastoid. Inch by inch the deltas are drying out and the river beds are smooth as glass. A new day is dawning, a metallurgical day, when the earth shall clink with showers of bright yellow ore. As the thermometer drops, the form of the world grows blurred; osmosis there still is, and here and there articulation, but at the periphery the veins are all varicose, at the periphery the light waves bend and the sun bleeds like a broken rectum.

Which would have advanced the most at the end of a month—the boy who had made his own jackknife from the ore which he had dug and smelted, reading as much as would be necessary for this—or the boy who had attended the lectures on metallurgy at the Institute in the meanwhile, and had received a Rodgers' penknife from his father? Which would be most likely to cut his fingers?... To my astonishment I was informed on leaving college that I had studied navigation!—why, if I had taken one turn down the harbor I should have known more about it. Even the poor student studies and is taught only political economy, while that economy of living which is synonymous with philosophy is not even sincerely professed in our colleges. The consequence is, that while he is reading Adam Smith, Ricardo, and Say, he runs his father in debt irretrievably.

Killing one person was murder; killing a few or dozens was ore murder; so killing thousands or tens of thousands ought to be punished by putting the murderer to death a thousand times. What about more than that? a few hundred thousand? The death penalty, right? Yet, those of you who know some history are starting to hesitate. What if he killed millions? I can guarantee you such a person would not be considered a murderer. Indeed, such a person may not even be thought to have broken any law. If you don't believe me, just study history! Anyone who has killed millions is deemed a 'great' man, a hero. And if that person destroyed a whole world and killed every life on it--he would be hailed as a savior!

Cică sunt antisocială. Nu mă integrez. E foarte bizar. De fapt, sunt o fiinţă foarte sociabilă. Totul depinde de ceea ce înţelegi prin sociabil, nu? Pentru mine sociabil înseamnă să discut cu tine despre astfel de lucruri. Sau să vorbesc despre cât de ciudată este lumea. E plăcut să fii cu oameni. Dar nu cred că sociabil înseamnă să aduni la un loc un grup de persoane şi să nu le dai voie să vorbească, n-am dreptate? O oră de televiziune, o oră de baschet,baseball sau alergări, altă oră de istoria transcrierii sau de pictură, iarăşi sport, însă niciodată nu punem întrebări, adică cei mai mulţi dintre noi nu întreabă; pur şi simplu, ni se indică răspunsurile, pac, pac, pac, şi noi stăm acolo încă patru ore de film. Mie nu mi se pare deloc că asta înseamnă să fii sociabil. Ce fel de sociabilitate e asta? E ca și cum ai lua niște vase cu fundul spart și-ai turna apă-n ele printr-o mulțime de pâlnii și-ai pretinde apoi că e vin (..) N-am nici un prieten. Asta ar trebui să fie o dovadă că sunt anormală. Dar toţi cei pe care-i cunosc urlă şi dansează ca nişte apucaţi sau se încaieră între ei. Ai remarcat cât de brutali au devenit oamenii unii cu alții?

I thought about the terrible uselessness of suffering. Love leaves behind its creation-the next generation coming into the world; the continuation of humanity. But suffering? Such a great part of human experience, the most difficult and painful, passes leaving no trace. If one were to collect the energy of suffering emitted by the millions of people here [Magadan, Russia] and transform it into the power of creation, one could turn our planet into a flowering garden. But what would remain? Rusty carcasses of ships, rotting watchtowers, deep holes which some kind of ore was once extracted. A dismal, lifeless emptiness. Not a soul anywhere, for the exhausted columns have already passed and vanished in the cold eternal fog.

It is possible to regulate watercourses over any given distance without embankment works; to transport timber and other materials, even when heavier than water, for example ore, stones, etc., down the centre of such water-courses; to raise the height of the watertable in the surrounding countryside and to endow the water with all those elements necessary for the prevailing vegetation." "Furthermore it is possible in this way to render timber and other such materials non-inflammable and rot resistant; to produce drinking and spa-water for man, beast and soil of any desired composition and performance artificially, but in the way that it occurs in Nature; to raise water in a vertical pipe without pumping devices; to produce any amount of electricity and radiant energy almost without cost; to raise soil quality and to heal tuberculosis, cancer and a variety of physical disorders.

Ceea ce pentru corpul fizic este orgasmul este fericirea pentru corpul nostru spiritual. E o senzaţie scurtă şi copleşitoare, este acea iluminare pe care-o caută misticii şi poeţii. Nu poţi fi fericit ani întregi sau zile-ntregi. Nici măcar câteva ore-n şir. Dostoievski o descrie ca pe un preludiu al epilepsiei. Rilke vorbeşte despre «cumplitul» ei: ea este frumuseţea la limita suportabilului, dincolo de care începe durerea. Poate că Goethe a intuit cel mai bine criteriul fericirii: eşti cu adevărat fericit când vrei să opreşti timpul, să păstrezi acel moment pentru întreaga eternitate; într-un fel, viaţa ta a avut sens dacă, în şirul nesfârşit de momente banale, cenuşii, triste, ruşinoase, ticăloase, mizerabile, plicticoase din care orice viaţă este compusă, s-a aprins totuşi, de câteva ori sau doar o singură dată, scânteia cutremurătoare a fericirii. «O dată ca zeii-am trăit şi mai mult nu-mi doresc», scrie despre ea Holderlin. Aceasta e adevărata fericire, pe care cei mai mulţi oameni n-o caută şi n-o râvnesc, pentru că ea îi poate distruge. A trăi ca zeii, fie doar şi pentru o clipă, e un hybris care se plăteşte.

Voiam, insa, ca-pana atunci- sa nu tradez nimic din zbuciumul, din intunecimile si flacarile sufletului meu. [...] Voiam sa trec printre semeni neluat in seama. Sa fiu crezut un adolescent urat si plicticos- si cu toate acestea sa am cugetul si sufletul desprinse din stanca. Sa izbucnesc dintr-o data, coplesind turma taratorilor si uluind neputinta celor care m-au cunoscut si m-au dispretuit. Sa-i biciuesc si sa le necinstesc fetele si sa ma desfat simtindu-mi trupul galgaind de viata rodnica si creatoare. Nu mi-a placut sa am prieteni. N-am vrut sa-mi descopar sufletul adolescentilor livizi si melancolici. Mandria ca port in mine o taina pe care n-o ghiceste nimeni mi-ajungea. Si gandul ca voi infricosa candva cetele oamenilor de carne- ma imbata. Eu stiam cine sunt. Si lucrul acesta imi umplea sufletul cu o nemarginita incredere si ma silea sa-mi incordez bratele ca pentru lupta. Cu atat mai mult cu cat nimeni nu banuia cine sunt si ce voi putea ajunge. ...Dar n-a fost asa. Mi-am cautat si eu, ca toti oamenii slabi, prieteni. Mi-am descoperit si eu sufletul cersind mangaiere si sprijin. Am tradat colturi din taina mea si am lasat sa se vada ceea ce nu trebuia sa cunosc decat eu. M-am vrut neindurat. Si n-am izbutit. Am fost schimbacios si plin de compromisuri, ca orice adolescent. Am facut si eu glume, am ras si eu mai mult decat era nevoie, mi-am risipit si eu timpul in vorba cu colegi imbecili si prieteni plictisitori, am dormit si eu opt ore ca toti ceilalti, am ratacit si eu seara, pe strazi ,murmurand confesiuni[...] Si nu numai atat. Am nesocotit cea mai frumoasa hotarare a mea: aceea de a pastra in mine, pana la desavarsire, tot ceea ce nazuiam sa impart mai tarziu celorlalti.

Che tempi maledetti sono i periodi di malattia nell'infanzia e nell'adolescenza! Il mondo esterno, il mondo del tempo libero in cortile o in giardino, oppure per strada, penetra nella stanza del malato solo mediante rumori ovattati. Dentro prolifera il mondo delle storie con i loro eroi, di cui il malato legge. La febbre, che indebolisce la percezione e acuisce la fantasia, trasforma la stanza del malato in uno spazio nuovo, familiare ed estraneo al contempo; dei mostri emergono con le loro smorfie dei disegni delle tendine della tappezzeria, e le sedie, il tavolo, gli scaffali e l'armadio si ergono come montagne, palazzi o navi, tanto vicini da poterli toccare, eppure così lontani. I rintocchi dell'orologio del campanile, il rombo di una macchina che passa e le luci riflesse dei fari, che perlustrano le pareti e soffitto della stanza, accompagnano il malato attraverso le lunghe ore della notte. Sono ore senza sonno, ma non ore insonni; non ore di carenza ma di pienezza. Desideri, ricordi, paure e voglie combinano dei labirinti in cui il malato si perde, si ritrova e si perde. Sono ore in cui tutto è possibile, sia nel bene che nel male.

[...] quelli che erano nati negli anni venti, e che avevano vent’anni negli anni quaranta, avevan dovuto combattere perché c’era la guerra e servivano dei soldati. Quelli che eran nati negli anni trenta, e avevan vent’anni negli anni cinquanta, avevan dovuto lavorare perché c’era stata la guerra e c’era un paese da ricostruire. Quelli che eran nati negli anni quaranta, e che avevan vent’anni negli anni sessanta, avevan dovuto lavorare anche loro perché c’era il boom economico e una grande richiesta di forza lavoro. Quelli che eran nati negli cinquanta, e che avevan vent’anni negli anni settanta, avevan dovuto contestare perché il mondo cosí com’era stato fino ad allora non era piú adatto alla modernità o non so bene a cosa. Poi eravamo arrivati noi, nati negli anni sessanta e che avevamo vent’anni negli anni ottanta e l’unica cosa che dovevamo fare, era stare tranquilli e non rompere troppo i maroni. Mi sembrava che noi, avevo detto, fossimo stata la prima generazione che, se ci davano un lavoro, non era perché c’era bisogno, ci facevano un favore. Cioè era come se il mondo, che per i nostri genitori era stata una cosa da fare, da costruire, per noi fosse già fatto, preconfezionato, e l’unica cosa che potevamo fare era mettere delle crocette, come nei test. E allora aveva anche senso, che proprio in quel periodo lí, negli anni ottanta, fossero comparsi in Italia i giochi elettronici, perché uno di vent’anni che passava sei o otto ore al giorno a giocare ai giochi elettronici, che negli anni cinquanta sarebbe stato un disadattato (Sei un delinquente, gli avrebbero detto i suoi genitori), a partire dagli anni ottanta andava benissimo, perché rispondeva al compito precipuo della sua generazione, di stare tranquillo e non rompere troppo i maroni.

Ehi..Ehi..mi senti? Dì qualcosa" disse Midori, la testa ancora sepolta nel mio petto. "che cosa?" "quello che vuoi, purchè sia qualcosa che mi faccia sentire meglio." "sei molto carina." "Midori" suggerì lei "mettici anche il nome." "sei molto carina, Midori" corressi. "molto quanto?" "tanto da far crollare le montagne e prosciugare i mari." Lei sollevò la testa e mi guardò. - "sai che le espressioni che usi tu sono assolutamente uniche?" disse. "solo tu mi capisci davvero" dissi ridendo. "dimmi qualcosa di ancora più carino." "Mi piaci tanto, Midori." "Tanto quanto?" "tanto quanto un orso in primavera." "un orso in primavera?" chiese lei sollevando di nuovo la testa "come sarebbe un orso in primavera?". "un orso in primavera.. allora, tu stai passeggiando da sola per i campi quando ad un tratto vedi arrivare nella tua direzione un orso adorabile dalla pelliccia vellutata e dagli occhi simpatici, che ti fa: 'senta signorina, non le andrebbe di rotolarsi un po' con me sull'erba?'. Tu e l'orsetto vi abbracciate e giocate a rotolare giù lungo il pendio tutto ricoperto di trifogli per ore e ore. Carino, no?" "Carinissimo" "Ecco, tu mi piaci tanto così.

BOWLS OF FOOD Moon and evening star do their slow tambourine dance to praise this universe. The purpose of every gathering is discovered: to recognize beauty and love what’s beautiful. “Once it was like that, now it’s like this,” the saying goes around town, and serious consequences too. Men and women turn their faces to the wall in grief. They lose appetite. Then they start eating the fire of pleasure, as camels chew pungent grass for the sake of their souls. Winter blocks the road. Flowers are taken prisoner underground. Then green justice tenders a spear. Go outside to the orchard. These visitors came a long way, past all the houses of the zodiac, learning Something new at each stop. And they’re here for such a short time, sitting at these tables set on the prow of the wind. Bowls of food are brought out as answers, but still no one knows the answer. Food for the soul stays secret. Body food gets put out in the open like us. Those who work at a bakery don’t know the taste of bread like the hungry beggars do. Because the beloved wants to know, unseen things become manifest. Hiding is the hidden purpose of creation: bury your seed and wait. After you die, All the thoughts you had will throng around like children. The heart is the secret inside the secret. Call the secret language, and never be sure what you conceal. It’s unsure people who get the blessing. Climbing cypress, opening rose, Nightingale song, fruit, these are inside the chill November wind. They are its secret. We climb and fall so often. Plants have an inner Being, and separate ways of talking and feeling. An ear of corn bends in thought. Tulip, so embarrassed. Pink rose deciding to open a competing store. A bunch of grapes sits with its feet stuck out. Narcissus gossiping about iris. Willow, what do you learn from running water? Humility. Red apple, what has the Friend taught you? To be sour. Peach tree, why so low? To let you reach. Look at the poplar, tall but without fruit or flower. Yes, if I had those, I’d be self-absorbed like you. I gave up self to watch the enlightened ones. Pomegranate questions quince, Why so pale? For the pearl you hid inside me. How did you discover my secret? Your laugh. The core of the seen and unseen universes smiles, but remember, smiles come best from those who weep. Lightning, then the rain-laughter. Dark earth receives that clear and grows a trunk. Melon and cucumber come dragging along on pilgrimage. You have to be to be blessed! Pumpkin begins climbing a rope! Where did he learn that? Grass, thorns, a hundred thousand ants and snakes, everything is looking for food. Don’t you hear the noise? Every herb cures some illness. Camels delight to eat thorns. We prefer the inside of a walnut, not the shell. The inside of an egg, the outside of a date. What about your inside and outside? The same way a branch draws water up many feet, God is pulling your soul along. Wind carries pollen from blossom to ground. Wings and Arabian stallions gallop toward the warmth of spring. They visit; they sing and tell what they think they know: so-and-so will travel to such-and-such. The hoopoe carries a letter to Solomon. The wise stork says lek-lek. Please translate. It’s time to go to the high plain, to leave the winter house. Be your own watchman as birds are. Let the remembering beads encircle you. I make promises to myself and break them. Words are coins: the vein of ore and the mine shaft, what they speak of. Now consider the sun. It’s neither oriental nor occidental. Only the soul knows what love is. This moment in time and space is an eggshell with an embryo crumpled inside, soaked in belief-yolk, under the wing of grace, until it breaks free of mind to become the song of an actual bird, and God.

One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.

Telegraph Road A long time ago came a man on a track Walking thirty miles with a pack on his back And he put down his load where he thought it was the best Made a home in the wilderness He built a cabin and a winter store And he ploughed up the ground by the cold lake shore And the other travellers came riding down the track And they never went further, no, they never went back Then came the churches, then came the schools Then came the lawyers, then came the rules Then came the trains and the trucks with their loads And the dirty old track was the telegraph road Then came the mines - then came the ore Then there was the hard times, then there was a war Telegraph sang a song about the world outside Telegraph road got so deep and so wide Like a rolling river ... And my radio says tonight it's gonna freeze People driving home from the factories There's six lanes of traffic Three lanes moving slow ... I used to like to go to work but they shut it down I got a right to go to work but there's no work here to be found Yes and they say we're gonna have to pay what's owed We're gonna have to reap from some seed that's been sowed And the birds up on the wires and the telegraph poles They can always fly away from this rain and this cold You can hear them singing out their telegraph code All the way down the telegraph road You know I'd sooner forget but I remember those nights When life was just a bet on a race between the lights You had your head on my shoulder, you had your hand in my hair Now you act a little colder like you don't seem to care But believe in me baby and I'll take you away From out of this darkness and into the day From these rivers of headlights, these rivers of rain From the anger that lives on the streets with these names 'Cos I've run every red light on memory lane I've seen desperation explode into flames And I don't want to see it again ... From all of these signs saying sorry but we're closed All the way down the telegraph road

Scene I. A little dark Parlour in Boston: Guards standing at the door. Hazlerod, Crusty Crowbar, Simple Sapling, Hateall, and Hector Mushroom. Simple. I know not what to think of these sad times, The people arm'd,—and all resolv'd to die Ere they'll submit.—— Crusty Crowbar. I too am almost sick of the parade Of honours purchas'd at the price of peace. Simple. Fond as I am of greatness and her charms, Elate with prospects of my rising name, Push'd into place,—a place I ne'er expected, My bounding heart leapt in my feeble breast. And ecstasies entranc'd my slender brain.— But yet, ere this I hop'd more solid gains, As my low purse demands a quick supply.— Poor Sylvia weeps,—and urges my return To rural peace and humble happiness, As my ambition beggars all her babes. Crusty. When first I listed in the desp'rate cause, And blindly swore obedience to his will, So wise, so just, so good I thought Rapatio, That if salvation rested on his word I'd pin my faith, and risk my hopes thereon. Hazlerod. Any why not now?—What staggers thy belief? Crusty. Himself—his perfidy appears— It is too plain he has betray'd his country; And we're the wretched tools by him mark'd out To seal its ruins—tear up the ancient forms, And every vestige treacherously destroy, Nor leave a trait of freedom in the land. Nor did I think hard fate wou'd call me up From drudging o'er my acres, Treading the glade, and sweating at the plough, To dangle at the tables of the great; At bowls and cards to spend my frozen years; To sell my friends, my country, and my conscience; Profane the sacred sabbaths of my God; Scorn'd by the very men who want my aid To spread distress o'er this devoted people. Hazlerod. Pho—what misgivings—why these idle qualms, This shrinking backwards at the bugbear conscience; In early life I heard the phantom nam'd, And the grave sages prate of moral sense Presiding in the bosom of the just; Or planting thongs about the guilty heart. Bound by these shackles, long my lab'ring mind, Obscurely trod the lower walks of life, In hopes by honesty my bread to gain; But neither commerce, or my conjuring rods, Nor yet mechanics, or new fangled drills, Or all the iron-monger's curious arts, Gave me a competence of shining ore, Or gratify'd my itching palm for more; Till I dismiss'd the bold intruding guest, And banish'd conscience from my wounded breast. Crusty. Happy expedient!—Could I gain the art, Then balmy sleep might sooth my waking lids, And rest once more refresh my weary soul.

As we stated, after their initial conquest, the Milesians began assimilating the gnosis of their predecessors. Of course they were no lovers of the Druids. After all, the British Druids were collaborators with their dire enemies, the Amenists. Nevertheless, returning to the ancient homeland was a most important step for the displaced and despised Atonists. Owning and controlling the wellspring of knowledge proved to be exceptionally politically fortunate for them. It was a key move on the grand geopolitical chessboard, so to speak. From their new seats in the garden paradise of Britain they could set about conquering the rest of the world. Their designs for a “New World Order,” to replace one lost, commenced from the Western Isles that had unfortunately fallen into their undeserving hands. But why all this exertion, one might rightly ask? Well, a close study of the Culdees and the Cistercians provides the answer. Indeed, a close study of history reveals that, despite appearances to the contrary, religion is less of a concern to despotic men or regimes than politics and economics. Religion is often instrumental to those secretly attempting to attain material power. This is especially true in the case of the Milesian-Atonists. The chieftains of the Sun Cult did not conceive of Christianity for its own sake or because they were intent on saving the world. They wanted to conquer the world not save it. In short, Atonist Christianity was devised so the Milesian nobility could have unrestricted access to the many rich mines of minerals and ore existing throughout the British Isles. It is no accident the great seats of early British Christianity - the many famous churches, chapels, cathedrals and monasteries, as well as forts, castles and private estates - happen to be situated in close proximity to rich underground mines. Of course the Milesian nobility were not going to have access to these precious territories as a matter of course. After all, these sites were often located beside groves and earthworks considered sacred by natives not as irreverent or apathetic as their unfortunate descendants. The Atonists realized that their materialist objectives could be achieved if they manufactured a religion that appeared to be a satisfactory carry on of Druidism. If they could devise a theology which assimilated enough Druidic elements, then perhaps the people would permit the erection of new religious sites over those which stood in ruins. And so the Order of the Culdees was born. So, Christianity was born. In the early days the religion was actually known as Culdeanism or Jessaeanism. Early Christians were known as Culdeans, Therapeuts or suggestively as Galileans. Although they would later spread throughout Europe and the Middle East, their birthplace was Britain.

In theory, if some holy book misrepresented reality, its disciples would sooner or later discover this, and the text’s authority would be undermined. Abraham Lincoln said you cannot deceive everybody all the time. Well, that’s wishful thinking. In practice, the power of human cooperation networks depends on a delicate balance between truth and fiction. If you distort reality too much, it will weaken you, and you will not be able to compete against more clear-sighted rivals. On the other hand, you cannot organise masses of people effectively without relying on some fictional myths. So if you stick to unalloyed reality, without mixing any fiction with it, few people will follow you. If you used a time machine to send a modern scientist to ancient Egypt, she would not be able to seize power by exposing the fictions of the local priests and lecturing the peasants on evolution, relativity and quantum physics. Of course, if our scientist could use her knowledge in order to produce a few rifles and artillery pieces, she could gain a huge advantage over pharaoh and the crocodile god Sobek. Yet in order to mine iron ore, build blast furnaces and manufacture gunpowder the scientist would need a lot of hard-working peasants. Do you really think she could inspire them by explaining that energy divided by mass equals the speed of light squared? If you happen to think so, you are welcome to travel to present-day Afghanistan or Syria and try your luck. Really powerful human organisations – such as pharaonic Egypt, the European empires and the modern school system – are not necessarily clear-sighted. Much of their power rests on their ability to force their fictional beliefs on a submissive reality. That’s the whole idea of money, for example. The government makes worthless pieces of paper, declares them to be valuable and then uses them to compute the value of everything else. The government has the power to force citizens to pay taxes using these pieces of paper, so the citizens have no choice but to get their hands on at least some of them. Consequently, these bills really do become valuable, the government officials are vindicated in their beliefs, and since the government controls the issuing of paper money, its power grows. If somebody protests that ‘These are just worthless pieces of paper!’ and behaves as if they are only pieces of paper, he won’t get very far in life.

Because he was not afraid until after it was all over, Grandfather said, because that was all it was to him -a spectacle, something to be watched because he might not have a chance to see such again, since his innocence still functioned and he not only did not know what fear was until afterward, he did not even know that at first he was not terrified; did not even know that he had found the place where money was to be had quick if you were courageous and shrewd but where high mortality was concomitant with the money and the sheen on the dollars was not from gold but from blood -a spot of earth which might have been created and set aside by Heaven itself, Grandfather said, as a theatre for violence and injustice and bloodshed and all the satanic lusts of human greed and cruelty, for the last despairing fury of all the pariah-interdict and all the doomed -a little island set in a smiling and fury lurked and incredible indigo sea, which was the halfway point between what we call the jungle and what we call civilization, halfway between the dark inscrutable continent from which the black blood, the black bones and flesh and thinking and remembering and hopes and desires, was ravished by violence, and the cold known land to which it was doomed, the civilised land and people which had expelled some of its own blood and thinking and desires that had become too crass to be faced and borne longer, and set it homeless and desperate on the lonely ocean -a little lost island in a latitude which would require ten thousand years of equatorial heritage to bear its climate, a soil manured with black blood from two hundred years of oppression and exploitation until it sprang with an incredible paradox of peaceful greenery and crimson flowers and sugar cane sapling size and three times the height of a man and a little bulkier of course but valuable pound for pound almost with silver ore, as if nature held a balance and kept a book and offered recompense for the torn limbs and outraged hearts even if man did not, the planting of nature and man too watered not only by the wasted blood but breathed over by the winds in which the doomed ships had fled in vain, out of which the last tatter of sail had sunk into the blue sea, along which the last vain despairing cry of woman or child had blown away; - the planting of men too: the yet intact bones and brains in which the old unsleeping blood that had vanished into the earth they trod still cried out for vengeance. 

They [mountains] are portions of the heart of the earth that have escaped from the dungeon down below, and rushed up and out. For the heart of the earth is a great wallowing mass, not of blood, as in the hearts of men and animals, but of glowing hot melted metals and stones. And as our hearts keep us alive, so that great lump of heat keeps the earth alive: it is a huge power of buried sunlight—that is what it is. Now think: out of that caldron, where all the bubbles would be as big as the Alps if it could get room for its boiling, certain bubbles have bubbled out and escaped—up and away, and there they stand in the cool, cold sky—mountains. Think of the change, and you will no more wonder that there should be something awful about the very look of a mountain: from the darkness—for where the light has nothing to shine upon, it is much the same as darkness—from the heat, from the endless tumult of boiling unrest—up, with a sudden heavenward shoot, into the wind, and the cold, and the starshine, and a cloak of snow that lies like ermine above the blue-green mail of the glaciers; and the great sun, their grandfather, up there in the sky; and their little old cold aunt, the moon, that comes wandering about the house at night; and everlasting stillness, except for the wind that turns the rocks and caverns into a roaring organ for the young archangels that are studying how to let out the pent-up praises of their hearts, and the molten music of the streams, rushing ever from the bosoms of the glaciers fresh-born. Think too of the change in their own substance—no longer molten and soft, heaving and glowing, but hard and shining and cold. Think of the creatures scampering over and burrowing in it, and the birds building their nests upon it, and the trees growing out of its sides, like hair to clothe it, and the lovely grass in the valleys, and the gracious flowers even at the very edge of its armour of ice, like the rich embroidery of the garment below, and the rivers galloping down the valleys in a tumult of white and green! And along with all these, think of the terrible precipices down which the traveller may fall and be lost, and the frightful gulfs of blue air cracked in the glaciers, and the dark profound lakes, covered like little arctic oceans with floating lumps of ice. All this outside the mountain! But the inside, who shall tell what lies there? Caverns of awfullest solitude, their walls miles thick, sparkling with ores of gold or silver, copper or iron, tin or mercury, studded perhaps with precious stones—perhaps a brook, with eyeless fish in it, running, running ceaseless, cold and babbling, through banks crusted with carbuncles and golden topazes, or over a gravel of which some of the stones are rubies and emeralds, perhaps diamonds and sapphires—who can tell?—and whoever can't tell is free to think—all waiting to flash, waiting for millions of ages—ever since the earth flew off from the sun, a great blot of fire, and began to cool. Then there are caverns full of water, numbing cold, fiercely hot—hotter than any boiling water. From some of these the water cannot get out, and from others it runs in channels as the blood in the body: little veins bring it down from the ice above into the great caverns of the mountain's heart, whence the arteries let it out again, gushing in pipes and clefts and ducts of all shapes and kinds, through and through its bulk, until it springs newborn to the light, and rushes down the mountain side in torrents, and down the valleys in rivers—down, down, rejoicing, to the mighty lungs of the world, that is the sea, where it is tossed in storms and cyclones, heaved up in billows, twisted in waterspouts, dashed to mist upon rocks, beaten by millions of tails, and breathed by millions of gills, whence at last, melted into vapour by the sun, it is lifted up pure into the air, and borne by the servant winds back to the mountain tops and the snow, the solid ice, and the molten stream.