Patterns In The Sand Quotes

Grover was sniffing the wind, looking nervous. He fished out his acorns and threw them into the sand, then played his pipes. They rearranged themselves in a pattern that made no sense to me, but Grover looked concerned. "That's us," he said. "Those five nuts right there." "Which one is me?" I asked. "The little deformed one," Zoe suggested. "Oh, shut up.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - these qualities you find always in that the true artist captures. You can find it in the turning of the seasons, the way sand trails along a ridge, in the branch clusters of the creosote bush of the pattern of its leaves. We try to copy these patterns in our lives and in our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.

Touch is a reciprocal action, a gesture of exchange with the world. To make an impression is also to receive one, and the soles of our feet, shaped by the surfaces they press upon, are landscapes themselves with their own worn channels and roving lines. They perhaps most closely resemble the patterns of ridge and swirl revealed when a tide has ebbed over flat sand

Rhythm. Life is full of it; words should have it, too. But you have to train your ear. Listen to the waves on a quiet night; you’ll pick up the cadence. Look at the patterns the wind makes in dry sand and you’ll see how syllables in a sentence should fall. Arthur Gordon

Honestly, I'm not sure how much longer I can keep doing this. It's like there are seven candles lit in my stomach. One, two, three, four, five, six, seven. Seven candles burning and smoking - lit - seven flames of doubt, fear, sorrow, pain, waste, hopelessness, despair. They turn my insides black with soot and ash. There is something at the back of my eyes- a pressure building, building, building - hot like the flames of seven candles, which no amount of breath can extinguish. I imagine drinking glasses of water. One, two, three four, five, six, seven. I dive into the clearest pool. I drown myself in the coarse, dry sand. I swallow handfuls of crushed white salt, but the flames burn still - brighter, hotter, deeper. Sweat runs in delicate patterns down my back, over my crooked spine and jutting hips. I scratch at the wounds these last weeks have left, but I can't break free of them. The flies gather and vultures circle overhead. The fire eats away my flesh. The fire spreads. The fire runs through my veins. The fire courses beneath my muscles - my tendons - the marrow of my bones. I sit rocking on the street corner. No, I can't keep doing this. I just can't.

These graceful, seamless phrases are like lovely memories, their names hidden, slipping into your dreams. Like fine wind patterns you never want to disappear, leaving gentle traces on the sand dunes of your heart.

Foamy and frothy, ribbons white, reflecting soft sunbeams to our delight, foaming in crests, rippling warm sands, tracing their patterns on the dry land. From The poem, " Seashore

We all behave like Maxwell’s demon. Organisms organize. In everyday experience lies the reason sober physicists across two centuries kept this cartoon fantasy alive. We sort the mail, build sand castles, solve jigsaw puzzles, separate wheat from chaff, rearrange chess pieces, collect stamps, alphabetize books, create symmetry, compose sonnets and sonatas, and put our rooms in order, and all this we do requires no great energy, as long as we can apply intelligence. We propagate structure (not just we humans but we who are alive). We disturb the tendency toward equilibrium. It would be absurd to attempt a thermodynamic accounting for such processes, but it is not absurd to say we are reducing entropy, piece by piece. Bit by bit. The original demon, discerning one molecules at a time, distinguishing fast from slow, and operating his little gateway, is sometimes described as “superintelligent,” but compared to a real organism it is an idiot savant. Not only do living things lessen the disorder in their environments; they are in themselves, their skeletons and their flesh, vesicles and membranes, shells and carapaces, leaves and blossoms, circulatory systems and metabolic pathways - miracles of pattern and structure. It sometimes seems as if curbing entropy is our quixotic purpose in the universe.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace—those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move toward death.

Thea, in all incarnations, wherever my soul has resided, I have loved you, am loving you, will love you. If the earth one day burns out its charge, you will find me in the ash. if the sea dries, find me in its sand. Fingers forever writing your name in ash, in sand, over and over in a love-patterned wasteland.

Know that...there's plenty of food and of course popcorn on the dining-room table. Just...help yourself. If that runs out just let me know. Don't panic. And there's coffee, both caff and decaf, and soft drinks and juice in the kitchen, and plenty of ice in the freezer so...let me know if you have any questions with that.' And lastly, since I have you all here in one place, I have something to share with you. Along the garden ways just now...I too heard the flowers speak. They told me that our family garden has all but turned to sand. I want you to know I've watered and nurtured this square of earth for nearly twenty years, and waited on my knees each spring for these gentle bulbs to rise, reborn. But want does not bring such breath to life. Only love does. The plain, old-fashioned kind. In our family garden my husband is of the genus Narcissus , which includes daffodils and jonquils and a host of other ornamental flowers. There is, in such a genus of man, a pervasive and well-known pattern of grandiosity and egocentrism that feeds off this very kind of evening, this type of glitzy generosity. People of this ilk are very exciting to be around. I have never met anyone with as many friends as my husband. He made two last night at Carvel. I'm not kidding. Where are you two? Hi. Hi, again. Welcome. My husband is a good man, isn't he? He is. But in keeping with his genus, he is also absurdly preoccupied with his own importance, and in staying loyal to this, he can be boastful and unkind and condescending and has an insatiable hunger to be seen as infallible. Underlying all of the constant campaigning needed to uphold this position is a profound vulnerability that lies at the very core of his psyche. Such is the narcissist who must mask his fears of inadequacy by ensuring that he is perceived to be a unique and brilliant stone. In his offspring he finds the grave limits he cannot admit in himself. And he will stop at nothing to make certain that his child continually tries to correct these flaws. In actuality, the child may be exceedingly intelligent, but has so fully developed feelings of ineptitude that he is incapable of believing in his own possibilities. The child's innate sense of self is in great jeopardy when this level of false labeling is accepted. In the end the narcissist must compensate for this core vulnerability he carries and as a result an overestimation of his own importance arises. So it feeds itself, cyclically. And, when in the course of life they realize that their views are not shared or thier expectations are not met, the most common reaction is to become enraged. The rage covers the fear associated with the vulnerable self, but it is nearly impossible for others to see this, and as a result, the very recognition they so crave is most often out of reach. It's been eighteen years that I've lived in service to this mindset. And it's been devastating for me to realize that my efforts to rise to these standards and demands and preposterous requests for perfection have ultimately done nothing but disappoint my husband. Put a person like this with four developing children and you're gonna need more than love poems and ice sculpture to stay afloat. Trust me. So. So, we're done here.

repatterns our brains and changes our biology; the new experience will reorganize the old programming, and in so doing, it will remove the neurological evidence of that past experience. (Think of how a bigger wave breaking farther up on the beach erases any sign of whatever shell, seaweed, sea foam, or sand pattern was there before.) Strong emotional experiences create long-term memories. So this new internal experience creates new long-term memories that override our past

You are a fingerprint. When you open your eyes on the last day of your life, you see your own thumb. In the jaundiced prison light, the lines on the pad of your thumb look like a dried-out riverbed, like sand washed into twirling patterns by water, once there and now gone.

What Ye disliked most was seeing the waves that slowly crawled across the display, a visual record of the meaningless noise Red Coast picked up from space. Ye felt this interminable wave was an abstract view of the universe: one end connected to the endless past, the other to the endless future, and in the middle only the ups and downs of random chance—without life, without pattern, the peaks and valleys at different heights like uneven grains of sand, the whole curve like a one-dimensional desert made of all the grains of sand lined up in a row, lonely, desolate, so long that it was intolerable. You could follow it and go forward or backward as long as you liked, but you’d never find the end. On

I was sitting on the seashore, half listening to a friend arguing violently about something which merely bored me. Unconsciously to myself, I looked at a film of sand I had picked up on my hand, when I suddenly saw the exquisite beauty of every little grain of it; instead of being dull, I saw that each particle was made up on a perfect geometrical pattern, with sharp angles, from each of which a brilliant shaft of light was reflected, while each tiny crystal shone like a rainbow…. The rays crossed and recrossed, making exquisite patterns of such beauty that they left me breathless…. Then, suddenly, my consciousness was lighted up from within and I saw in a vivid way how the whole universe was made up of particles of material which, no matter how dull and lifeless they might seem, were nevertheless filled with this intense and vital beauty. For a second or two the whole world appeared as a blaze of glory. When it died down, it left me with something I have never forgotten and which constantly reminds me of the beauty locked up in every minute speck of material around us.

The sand was hard-packed and solid and wet, speckled all over with cockle shells in colors and patterns of such profusion and variety that they must have given the first Dutchmen the idea to go out into the sea and bring back precious things from afar.

Quantum physicists discovered that physical atoms are made up of vortices of energy that are constantly spinning and vibrating; each atom is like a wobbly spinning top that radiates energy. Because each atom has its own specific energy signature (wobble), assemblies of atoms (molecules) collectively radiate their own identifying energy patterns. So every material structure in the universe, including you and me, radiates a unique energy signature. If it were theoretically possible to observe the composition of an actual atom with a microscope, what would we see? Imagine a swirling dust devil cutting across the desert’s floor. Now remove the sand and dirt from the funnel cloud. What you have left is an invisible, tornado-like vortex. A number of infinitesimally small, dust devil–like energy vortices called quarks and photons collectively make up the structure of the atom. From far away, the atom would likely appear as a blurry sphere. As its structure came nearer to focus, the atom would become less clear and less distinct. As the surface of the atom drew near, it would disappear. You would see nothing. In fact, as you focused through the entire structure of the atom, all you would observe is a physical void. The atom has no physical structure—the emperor has no clothes! Remember the atomic models you studied in school, the ones with marbles and ball bearings going around like the solar system? Let’s put that picture beside the “physical” structure of the atom discovered by quantum physicists. No, there has not been a printing mistake; atoms are made out of invisible energy not tangible matter! So in our world, material substance (matter) appears out of thin air. Kind of weird, when you think about it. Here you are holding this physical book in your hands. Yet if you were to focus on the book’s material substance with an atomic microscope, you would see that you are holding nothing. As it turns out, we undergraduate biology majors were right about one thing—the quantum universe is mind-bending. Let’s look more closely at the “now you see it, now you don’t” nature of quantum physics. Matter can simultaneously be defined as a solid (particle) and as an immaterial force field (wave). When scientists study the physical properties of atoms, such as mass and weight, they look and act like physical matter. However, when the same atoms are described in terms of voltage potentials and wavelengths, they exhibit the qualities and properties of energy (waves). (Hackermüller, et al, 2003; Chapman, et al, 1995; Pool 1995) The fact that energy and matter are one and the same is precisely what Einstein recognized when he concluded that E = mc2. Simply stated, this equation reveals that energy (E) = matter (m, mass) multiplied by the speed of light squared (c2). Einstein revealed that we do not live in a universe with discrete, physical objects separated by dead space. The Universe is one indivisible, dynamic whole in which energy and matter are so deeply entangled it is impossible to consider them as independent elements.

One night, Ye was working the night shift. This was the loneliest time. In the deep silence of midnight, the universe revealed itself to its listeners as a vast desolation. What Ye disliked most was seeing the waves that slowly crawled across the display, a visual record of the meaningless noise Red Coast picked up from space. Ye felt this interminable wave was an abstract view of the universe: one end connected to the endless past, the other to the endless future, and in the middle only the ups and downs of random chance—without life, without pattern, the peaks and valleys at different heights like uneven grains of sand, the whole curve like a one-dimensional desert made of all the grains of sand lined up in a row, lonely, desolate, so long that it was intolerable. You could follow it and go forward or backward as long as you liked, but you’d never find the end.

The dream clung to her. Her sleep had been full of Jupiter ever since the survey last week: that overwhelming, unstoppable girth; the swirling patterns of the atmosphere, dark belts and light stripes rolling in circular rivers of ammonia crystal clouds; every shade of orange in the spectrum, from soft, sand-coloured regions to vivid streams of molten vermilion; the breathtaking speed of a ten-hour orbit, whipping around and around the planet like a spinning top; the opaque surface, simmering and roaring in century-old tempests. And the moons! The ancient, pockmarked skin of Callisto and the icy crust of Ganymede. The rusty cracks of Europa’s subterranean oceans. The volcanoes of Io, magma fireworks leaping up from the surface.

The prescience, he realized, was an illumination that incorporated the limits of what it revealed- at once a source of accuracy and meaningful error. A kind of Heisenberg indeterminacy intervened: the expenditure of energy that revealed what he saw, changed what he saw. And what he saw was a time nexus within this cave, a boiling of possibilities focused here, wherein the most minute action - the wink of an eye, a careless word, a misplaced grain of sand - moved a gigantic lever across the known universe. He saw violence with the outcome subject to so many variables that his slightest movement created vast shiftings in the patterns. The vision made him want to freeze into immobility, but this, too was action with its consequences.

I think of two landscapes- one outside the self, the other within. The external landscape is the one we see-not only the line and color of the land and its shading at different times of the day, but also its plants and animals in season, its weather, its geology… If you walk up, say, a dry arroyo in the Sonoran Desert you will feel a mounding and rolling of sand and silt beneath your foot that is distinctive. You will anticipate the crumbling of the sedimentary earth in the arroyo bank as your hand reaches out, and in that tangible evidence you will sense the history of water in the region. Perhaps a black-throated sparrow lands in a paloverde bush… the smell of the creosote bush….all elements of the land, and what I mean by “the landscape.” The second landscape I think of is an interior one, a kind of projection within a person of a part of the exterior landscape. Relationships in the exterior landscape include those that are named and discernible, such as the nitrogen cycle, or a vertical sequence of Ordovician limestone, and others that are uncodified or ineffable, such as winter light falling on a particular kind of granite, or the effect of humidity on the frequency of a blackpoll warbler’s burst of song….the shape and character of these relationships in a person’s thinking, I believe, are deeply influenced by where on this earth one goes, what one touches, the patterns one observes in nature- the intricate history of one’s life in the land, even a life in the city, where wind, the chirp of birds, the line of a falling leaf, are known. These thoughts are arranged, further, according to the thread of one’s moral, intellectual, and spiritual development. The interior landscape responds to the character and subtlety of an exterior landscape; the shape of the individual mind is affected by land as it is by genes. Among the Navajo, the land is thought to exhibit sacred order…each individual undertakes to order his interior landscape according to the exterior landscape. To succeed in this means to achieve a balanced state of mental health…Among the various sung ceremonies of this people-Enemyway, Coyoteway, Uglyway- there is one called Beautyway. It is, in part, a spiritual invocation of the order of the exterior universe, that irreducible, holy complexity that manifests itself as all things changing through time (a Navajo definition of beauty).

than individual inventions or amendments. That is not to say that all demotic innovations are benevolent. But if you listen to many voices and stories and discern a deep and complex pattern emerging, you can usually determine what is real and what has been airbrushed for questionable agendas or corrupted by flash mobs of narcissists.

A kind of northing is what I wish to accomplish, a single-minded trek towards that place where any shutter left open to the zenith at night will record the wheeling of all the sky’s stars as a pattern of perfect, concentric circles. I seek a reduction, a shedding, a sloughing off. At the seashore you often see a shell, or fragment of a shell, that sharp sands and surf have thinned to a wisp. There is no way you can tell what kind of shell it had been, what creature it had housed; it could have been a whelk or a scallop, a cowrie, limpet, or conch. The animal is long since dissolved, and its blood spread and thinned in the general sea. All you hold in your hand is a cool shred of shell, an inch long, pared so thin that it passes a faint pink light. It is an essence, a smooth condensation of the air, a curve. I long for the North where unimpeded winds would hone me to such a pure slip of bone. But I’ll not go northing this year. I’ll stalk that floating pole and frigid air by waiting here. I wait on bridges; I wait, struck, on forest paths and meadow’s fringes, hilltops and banksides, day in and day out, and I receive a southing as a gift. The North washes down the mountains like a waterfall, like a tidal wave, and pours across the valley; it comes to me. It sweetens the persimmons and numbs the last of the crickets and hornets; it fans the flames of the forest maples, bows the meadow’s seeded grasses and pokes it chilling fingers under the leaf litter, thrusting the springtails and the earthworms deeper into the earth. The sun heaves to the south by day, and at night wild Orion emerges looming like the Specter over Dead Man Mountain. Something is already here, and more is coming.

Grover was sniffing the wind, looking nervous. He fished out his acorns and threw them into the sand, then played his pipes. They rearranged themselves in a pattern that made no sense to me, but Grover looked concerned. "That's us," he said. "Those five nuts right there." "Which one is me?" I asked. "The little deformed one," Zoe suggested. "Oh, shut up.

Come with me.” He led her to the beach again, but during dinner a few people had been busy. It was now lined with an aisle of candles. A man stood close to the breaking surf, hands crossed, waiting. Someone had used the surrounding sand as a canvas, creating a swirling pattern. Their names were part of the art. What? She asked without a sound. “I want you to marry me. Here. Now.” Beckett let go of her hand and strode away from her. When he turned around, close to the water at the end of the aisle, he hoped to hell she wasn’t running in the other direction.

The sun is high, the day hot, and she lays the dress out in the grass to dry, sinks onto the slope besides it in her shift. They sit, side by side in silence, one a ghost of the other. And she realizes, looking down, that this is all she has. A dress. A slip. A pair of stolen shoes. Restless, she takes up a stick and begins to draw absent patterns in the silt along the bank. But every stroke she makes dissolves, the change too quick to be the river's doing. She draws a line, watches it begin to wash away before she even finishes the mark. Tries to write her name, but her hand stills, pinned under the same rock that held her tongue. She carves a deeper line, gouges out the sand, but it makes no difference, soon that groove is gone, too, and an angry sob escapes her throat as she casts the stick away.

That was true, Iris would sometimes think, about marriage: it was only a boat, too. A wooden boat, difficult to build, even more difficult to maintain, whose beauty derived at least in part from its unlikelihood. Long ago the pragmatic justifications for both marriage and wooden-boat building had been lost or superseded. Why invest countless hours, years, and dollars in planing and carving, gluing and fastening, caulking and fairing, when a fiberglass boat can be had at a fraction of the cost? Why struggle to maintain love and commitment over decades when there were far easier ways to live, ones that required no effort or attention to prevent corrosion and rot? Why continue to pour your heart into these obsolete arts? Because their beauty, the way they connect you to your history and to the living world, justifies your efforts. A long marriage, like a classic wooden boat, could be a thing of grace, but only if great effort was devoted to its maintenance. At first your notions of your life with another were no more substantial than a pattern laid down in plywood. Then year by year you constructed the frame around the form, and began layering memories, griefs, and small triumphs like strips of veneer planking bent around the hull of everyday routine. You sanded down the rough edges, patched the misunderstandings, faired the petty betrayals. Sometimes you sprung a leak. You fell apart in rough weather or were smashed on devouring rocks. But then, as now, in the teeth of a storm, when it seemed like all was lost, the timber swelled, the leak sealed up, and you found that your craft was, after all, sea-kindly.

Have you ever really watched him? I bet he'd found out everything about Jabbar by the time he'd talked to him for ten minutes. I bet he knows the name of every camel. And he'll remember it all. People don't take that much interest in other people, usually.' Her fingers idly traced a pattern in the sand. 'So he makes you feel important.' 'Politicians do that-' Vimes began. 'Not the way he does, believe me. I expect Lord Vetinari remembers facts about people-' 'Oh, you'd better believe that!' '-but Carrot takes an interest. He doesn't even think about it. He makes space in his head for people. He takes an interest, and so people think they're intesting. They feel... better when he's around.

Sahara, the bright, penetrating lights, the quick drop of comets, a cold moon, which made the rippling patterns of sand look like a frozen sea. The universe was large all right, but no larger, it appeared, than the whole wide world ahead of me.

And so this end in confusion, where when things stop I never get to know it, and this moving is the space, is that what is yet to be, which is for others to see filled wherever it may finally be in the frame when the last pieces are fitted and the others stop, and there will be the stopped pattern, the final array, but not even that, because that final finitude will itself be a bit of scrolling, a percent clump of tiles, which will generally stay together but move about within another whole and be mingled, with in endless ways of other people's memories, so that I will remain a set of impressions porous and open to combination with all of the other vitreous squares floating about in whoever else's frames, because there is always the space left in reserve for the rest of their downtime, and to my great-grandchildren, with more space than tiles, I will be no more than the smoky arrangement of a set of rumors, and to their great-grandchildren, I will be no more than a tint of some obscure color, and to their great grandchildren nothing they ever know about, and so what army of strangers and ghosts has shaped and colored me until back to Adam, until back to when ribs were blown from molten sand into the glass bits that took up the light of this world because they were made from this world, even though the fleeting tenants of those bits of colored glass have vacated them before they have had even the remotest understanding of what it is to inhabit them, and if they -- if we are fortunate (yes, I am lucky, lucky), and if we are fortunate, have fleeting instants when we are satisfied that the mystery is ours to ponder, if never to solve, or even just rife personal mysteries, never mind those outside-- are there even mysteries outside? a puzzle itself -- but anyway, personal mysteries, like where is my father, why can't I stop all the moving and look out over the vast arrangements and find by the contours and colors and qualities of light where my father is, not to solve anything but just simple even to see it again one last time, before what, before it ends, before it stops. But it doesn't stop; it simply ends. It is a final pattern scattered without so much as a pause at the end, at the end of what, at the end of this.

Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.

Manifestation of life we desire can easily be compared to sowing seeds. A seed sprouts depending on whether it has been thrown into a fertile ground or sand, and the same goes for our soul's desire. For the seeds to sprout and grow, they need a healthy, fertile land, without unnecessary ballast, which on the level of the mind are the outlived patterns, fears and limitations we have taken upon ourselves as our own. Just like the farmer ploughs his field and enriches the soil, it is up to us to maintain the best possible conditions for the sprouting and development of our being. Let us remove the rocks and sand from our field, maintain the fertile soil, devote the time to caring for our spirit and mind, and our field of life will prosper in abundance.

We must walk without rhythm," Paul said and he called up memory of men walking the sand . . . both prescient memory and real memory. "Watch how I do it," he said. "This is how Fremen walk the sand." He stepped out onto the windward face of the dune, following the curve of it, moved with a dragging pace. Jessica studied his progress for ten steps, followed, imitating him. She saw the sense of it: they must sound like the natural shifting of sand . . . like the wind. But muscles protested this unnatural, broken pattern: Step . . . drag . . . drag . . . step . . . step . . . wait . . . drag . . . step . . .

When a guitar string is plucked or when children jiggle a jump rope, the shape that appears is a sine wave. The ripples on a pond, the ridges of sand dunes, the stripes of a zebra—all are manifestations of nature’s most basic mechanism of pattern formation: the emergence of sinusoidal structure from a background of bland uniformity.

All life-forms are a kind of living information, transforms, as Bate-son put it, of messages. Not, by any means, actors against a static background. But rather, information added to an already extant and very complex information system. There is, in consequence, a pattern that connects each part to each other and to the whole. A pattern that runs through everything that Gaia has done. As Frank Herbert noted . . . There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace—those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the patterns of its leaves.13

My shamans have read the sands. They have learned much of your future. (...)’ Gamet was scowling. ‘I do not wish to offend, Warchief, but I hold little faith in divination. No mortal—no god—can say we are doomed, or destined. The future remains unknown, the one thing we cannot force a pattern upon.’ (...) ‘Do you not see patterns in history, Fist? Are you blind to the cycles we all suffer through? Look upon this desert, this wasteland you cross. Yours is not the first empire that would claim it. And what of the tribes? Before the Khundryl, before the Kherahn Dhobri and the Tregyn, there were the Sanid, and the Oruth, and before them there were others whose names have vanished. Look upon the ruined cities, the old roads. The past is all patterns, and those patterns remain beneath our feet, even as the stars above reveal their own patterns—for the stars we gaze upon each night are naught but an illusion from the past.’ He raised the jug again and studied it for a moment. ‘Thus, the past lies beneath and above the present, Fist. This is the truth my shamans embrace, the bones upon which the future clings like muscle.

we are forgetting that if no one had ever seen more of God than we, we should have no reason even to believe Him immaterial, immutable, impassible and all the rest of it. Even that negative knowledge which seems to us so enlightened is only a relic left over from the positive knowledge of better men—only the pattern which that heavenly wave left on the sand when it retreated.

In the center of a garden reared a tree, glinting golden in the darkness, peppered with flowers that smelled of blood. The great yawning hollows of the trunk invited her in, promising a snug sanctuary. "They will suffocate you like a pillow of sand and you will never emerge alive," a chittering voice cried out. The patterns engraved on the tree's bark dizzied her eyes. "If your finger brushes against them, you'll know true madness." She glanced away from the bark, her eyes caught by a movement in the branches. A squirrel scurried down the trunk towards her. It didn't seem to be bothered that its tail was swathed in flames, or that something had eaten away at half of its rot-black face and torso. Death's pet project bared its teeth at her. "Do you really want to be here?

We name victims and perpetrators by a color code that masks the actual forces and patterns that are vexing us. We see ethnic groups with our left eye and individuals with our right eye, and we are blind to anything else. We can’t see the flows of power and control in the world, the systemic suck of resources from south to north. An illusion of time and space, a false global map of places and peoples has slid over our frontal lobes.

Ye felt this interminable wave was an abstract view of the universe: one end connected to the endless past, the other to the endless future, and in the middle only the ups and downs of random chance—without life, without pattern, the peaks and valleys at different heights like uneven grains of sand, the whole curve like a one-dimensional desert made of all the grains of sand lined up in a row, lonely, desolate, so long that it was intolerable. You

I lifted the description ' a bewildering array of stars' once from a far better writer - I can't remember who now, only that I stole it - and that expression came to mind as I stared up at an awe-inspiring sky over the Sahara, the bright, penetrating lights, the quick drop of comets, a cold moon, which made the rippling patterns sand look like a frozen sea. The universe was large all right, but no larger, it appeared, than the whole wide world ahead of me.

One of my favorite album covers is On the Beach. Of course that was the name of a movie and I stole it for my record, but that doesn't matter. The idea for that cover came like a bolt from the blue. Gary and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Ana to get the tail fin and fender from a 1959 Cadillac, complete with taillights, and watched them cut it off a Cadillac for us, then we went to a patio supply place to get the umbrella and table. We picke up the bad polyester yellow jacket and white pants at a sleazy men's shop, where we watched a shoplifter getting caught red-handed and busted. Gary and I were stoned on some dynamite weed and stood there dumbfounded watching the bust unfold. This girl was screaming and kicking! Finally we grabbed a local LA paper to use as a prop. It had this amazing headline: Sen. Buckley Calls For Nixon to Resign. Next we took the palm tree I had taken around the world on the Tonight's the Night tour. We then placed all of these pieces carefully in the sand at Santa Monica beach. Then we shot it. Bob Seidemann was the photographer, the same one who took the famous Blind Faith cover shot of the naked young girl holding the airplane. We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do.

When a fine old carpet is eaten by mice, the colors and patterns of what's left behind do not change,' wrote my neighbor and friend, the poet Jane Hirschfield, after she visited an old friend suffering from Alzheimer's disease in a nursing home. And so it was with my father. His mind did not melt evenly into undistinguishable lumps, like a dissolving sand castle. It was ravaged selectively, like Tintern Abbey, the Cistercian monastery in northern Wales suppressed in 1531 by King Henry VIII in his split with the Church of Rome. Tintern was turned over to a nobleman, its stained-glass windows smashed, its roof tiles taken up and relaid in village houses. Holy artifacts were sold to passing tourists. Religious statues turned up in nearby gardens. At least one interior wall was dismantled to build a pigsty. I've seen photographs of the remains that inspired Wordsworth: a Gothic skeleton, soaring and roofless, in a green hilly landscape. Grass grows in the transept. The vanished roof lets in light. The delicate stone tracery of its slim, arched quatrefoil windows opens onto green pastures where black-and-white cows graze. Its shape is beautiful, formal, and mysterious. After he developed dementia, my father was no longer useful to anybody. But in the shelter of his broken walls, my mother learned to balance her checkbook, and my heart melted and opened. Never would I wish upon my father the misery of his final years. But he was sacred in his ruin, and I took from it the shards that still sustain me.

Cultures and religions exist, and are explained, to the extent that they reliably express stucturally enduring relationships among mental states and behaviors and where these material relationships enable a given population of individuals to maintain itself in repeated social interaction within a range of ecological contexts. Cultures and religions are not ontologically distinct “superorganisms” or “independent variables” with precise contents or boundaries. They are no more things in and of themselves, or “natural kinds” with their own special laws, than are cloud or sand patterns. Although

He picks one of the boxes on the table this time, a polished-wood box with a swirling pattern etched into its lid. The inside of the box is lined with white silk. The scent is like incense, deep and spiced, and he can feel smoke curling around his head. It is hot, a dry desert air with pounding sun and powder-soft sand. His cheeks flush from the heat and from something else. The feel and sensation of something as luscious as silk falls across his skin in waves. There is music that he cannot discern. A pipe or a flute. And laughter, a high-pitched laugh that blends harmoniously with the music. The taste of something sweet but spicy on his tongue. The feeling is luxurious and lighthearted, but also secretive and sensual. He feels a hand on his shoulder and jumps in surprise, dropping the lid down on the box.

I have learned this for certain: if discontent is your disease, travel is medicine. It resensitizes. It open you up to see outside the patterns you follow. Because new places require new learning. It forces your childlike self back into action. When you are a kid, everything is new. You don't know what's under each rock, or up the creek. So, you look. You notice because you need to. The world is new. This, I believe, is why time moves so slowly as a child - why school days creep by and summer breaks stretch on. Your brain is paying attention to every second. It must as it learns that patters of living. Ever second has value. But as you get older, and the patterns become more obvious, time speeds up. Especially once you find your groove in the working world. The layout of your days becomes predictable, a routine, and once your brain reliably knows what's next, it reclines and closes its eyes. Time pours through your hands like sand. But travel has a way of shaking the brain awake. When I'm in a new place, I don't know what's next, even if I've read all the guidebooks and followed the instructions of my friends. I can't know a smell until I've smelled it. I can't know the feeling of a New York street until I've walked it. I can't feel the hot exhaust of the bus by reading about it. I can't smell the food stands and the cologne and the spilled coffee. Not until I go and know it in its wholeness. But once I do, that awakened brain I had as a kid, with wide eyes and hands touching everything, comes right back. This brain absorbs the new world with gusto. And on top of that, it observes itself. It watches the self and parses out old reasons and motives. The observation is wide. Healing is mixed in.

But the most constant source of enchantment during those readings came from the harlequin pattern of colored panes inset in a whitewashed framework on either side of the veranda. The garden when viewed through these magic glasses grew strangely still and aloof. If one looked through blue glass, the sand turned to cinders while inky trees swam in a tropical sky. The yellow created an amber world infused with an extra strong brew of sunshine. The red made the foliage drip ruby dark upon a pink footpath. The green soaked greenery in a greener green. And when, after such richness, one turned to a small square of normal, savorless glass, with its lone mosquito or lame daddy longlegs, it was like taking a draught of water when one is not thirsty, and one saw a matter-of-fact white bench under familiar trees. But of all the windows this is the pane through which in later years parched nostalgia longed to peer.

But these things that Rome had to give, are they not good things?” Marcus demanded. “Justice, and order, and good roads; worth having, surely?” “These be all good things,” Esca agreed. “But the price is too high.” “The price? Freedom?” “Yes—and other things than freedom.” “What other things? Tell me, Esca; I want to know. I want to understand.” Esca thought for a while, staring straight before him. “Look at the pattern embossed here on your dagger-sheath,” he said at last. “See, here is a tight curve, and here is another facing the other way to balance it, and here between them is a little round stiff flower; and then it is all repeated here, and here, and here again. It is beautiful, yes, but to me it is as meaningless as an unlit lamp.” Marcus nodded as the other glanced up at him. “Go on.” Esca took up the shield which had been laid aside at Cottia’s coming. “Look now at this shield-boss. See the bulging curves that flow from each other as water flows from water and wind from wind, as the stars turn in the heaven and blown sand drifts into dunes. These are the curves of life; and the man who traced them had in him knowledge of things that your people have lost the key to—if they ever had it.” He looked up at Marcus again very earnestly. “You cannot expect the man who made this shield to live easily under the rule of the man who worked the sheath of this dagger.” “The sheath was made by a British craftsman,” Marcus said stubbornly. “I bought it at Anderida when I first landed.” “By a British craftsman, yes, making a Roman pattern. One who had lived so long under the wings of Rome—he and his fathers before him—that he had forgotten the ways and the spirit of his own people.” He laid the shield down again. “You are the builders of coursed stone walls, the makers of straight roads and ordered justice and disciplined troops. We know that, we know it all too well. We know that your justice is more sure than ours, and when we rise against you, we see our hosts break against the discipline of your troops, as the sea breaks against a rock. And we do not understand, because all these things are of the ordered pattern, and only the free curves of the shield-boss are real to us. We do not understand. And when the time comes that we begin to understand your world, too often we lose the understanding of our own.” For a while they were silent, watching Cub at his beetle-hunting. Then Marcus said, “When I came out from home, a year and a half ago, it all seemed so simple.” His gaze dropped again to the buckler on the bench beside him, seeing the strange, swelling curves of the boss with new eyes. Esca had chosen his symbol well, he thought: between the formal pattern on his dagger-sheath and the formless yet potent beauty of the shield-boss lay all the distance that could lie between two worlds. And yet between individual people, people like Esca, and Marcus, and Cottia, the distance narrowed so that you could reach across it, one to another, so that it ceased to matter.

Once upon a time such a universe was considered unusual and, possibly, impossible. But then ... it used to be so simple, once upon a time. Because the universe was full of ignorance all around and the scientist panned through it like a prospector crouched over a mountain stream, looking for the gold of knowledge among the gravel of unreason, the sand of uncertainty and the little whiskery eight-legged swimming things of superstition. Occasionally he would straighten up and say things like 'Hurrah, I've discovered Boyle's Third Law.' And everyone knew where they stood. But the trouble was that ignorance became more interesting, especially big fascinating ignorance about huge and important things like matter and creation, and people stopped patiently building their little houses of rational sticks in the chaos of the universe and started getting interested in the chaos itself - partly because it was a lot easier to be an expert on chaos, but mostly because it made really good patterns that you could put on a t-shirt.

What are we talking about?” Alex says. “This is fucking nonsense.” The couple ahead of us turns slightly. “What are you looking at?” Alex says to them. I don’t bother to reprimand her, because really, what are they looking at? I slow my pace and Alex punches Scottie in the arm. “Ow!” Scottie screams. “Alex! Why are we still on this pattern?” “Hit her back, Dad,” Scottie yells. Alex grabs Scottie’s neck. “You’re hurting me,” Scottie says. “That’s kind of the point,” Alex says. I grab both children by the arm and pull them down to the sand. Sid covers his mouth with his hand and bends over, laughing silently. “‘What do you love about Mom?’” Alex says, mimicking her sister. “Shut up, already. And stop babying her.” I sit down between them and don’t say a word. Sid sits next to Alex. “Easy, tiger,” he says. I look at the waves crashing down on the sand. A few women walk by and give me this knowing look, as though a father with his kids is such a precious sight. It takes so little to be revered as a father. I can tell the girls are waiting for me to say something, but what can I say that hasn’t been said? I’ve shouted, I’ve reasoned, I’ve even spanked. Nothing works. “What do you love about Mom, Scottie?” I ask, glaring at Alex. She takes a moment to think. “Lots of stuff. She’s not old and ugly, like most moms.” “What about you, Alex?” “Why are we doing this?” she asks. “How did we get here in the first place?” “Swimming with the sharks,” I say. “Scottie wanted to swim with sharks.” “You can do that,” Sid says. “I read about it in the hotel.” “She’s not afraid of anything,” Alex says. She’s wrong, and besides, I think this is a statement and not something that Alex truly loves. “Let’s get back,” I say. I stand up and wipe the sand off of me. I look at our hotel on the cliff, pink from the sunset. The girls’ expressions when I told them about their mom made me feel so alone. They won’t ever understand me the way Joanie does. They won’t know her the way I do. I miss her despite the fact that she envisioned the rest of her life without me. I look at my daughters, utter mysteries, and for a brief moment I have a sick feeling that I don’t want to be alone in the world with these two girls. I’m relieved they haven’t asked me what it is I love about them.

The morning after / my death” The morning after my death we will sit in cafés but I will not be there I will not be * There was the great death of birds the moon was consumed with fire the stars were visible until noon. Green was the forest drenched with shadows the roads were serpentine A redwood tree stood alone with its lean and lit body unable to follow the cars that went by with frenzy a tree is always an immutable traveller. The moon darkened at dawn the mountain quivered with anticipation and the ocean was double-shaded: the blue of its surface with the blue of flowers mingled in horizontal water trails there was a breeze to witness the hour * The sun darkened at the fifth hour of the day the beach was covered with conversations pebbles started to pour into holes and waves came in like horses. * The moon darkened on Christmas eve angels ate lemons in illuminated churches there was a blue rug planted with stars above our heads lemonade and war news competed for our attention our breath was warmer than the hills. * There was a great slaughter of rocks of spring leaves of creeks the stars showed fully the last king of the Mountain gave battle and got killed. We lay on the grass covered dried blood with our bodies green blades swayed between our teeth. * We went out to sea a bank of whales was heading South a young man among us a hero tried to straddle one of the sea creatures his body emerged as a muddy pool as mud we waved goodbye to his remnants happy not to have to bury him in the early hours of the day We got drunk in a barroom the small town of Fairfax had just gone to bed cherry trees were bending under the weight of their flowers: they were involved in a ceremonial dance to which no one had ever been invited. * I know flowers to be funeral companions they make poisons and venoms and eat abandoned stone walls I know flowers shine stronger than the sun their eclipse means the end of times but I love flowers for their treachery their fragile bodies grace my imagination’s avenues without their presence my mind would be an unmarked grave. * We met a great storm at sea looked back at the rocking cliffs the sand was going under black birds were leaving the storm ate friends and foes alike water turned into salt for my wounds. * Flowers end in frozen patterns artificial gardens cover the floors we get up close to midnight search with powerful lights the tiniest shrubs on the meadows A stream desperately is running to the ocean The Spring Flowers Own & The Manifestations of the Voyage (The Post-Apollo Press, 1990)

LATE ONE AFTERNOON, after watching for Chase Andrews, Kya walks from her shack and lies back on a sliver of beach, slick from the last wave. She stretches her arms over her head, brushing them against the wet sand, and extends her legs, toes pointed. Eyes closed, she rolls slowly toward the sea. Her hips and arms leave slight indentions in the glistening sand, brightening and then dimming as she moves. Rolling nearer the waves, she senses the ocean’s roar through the length of her body and feels the question: When will the sea touch me? Where will it touch me first? The foamy surge rushes the shore, reaching toward her. Tingling with expectancy, she breathes deep. Turns more and more slowly. With each revolution, just before her face sweeps the sand, she lifts her head gently and takes in the sun-salt smell. I am close, very close. It is coming. When will I feel it? A fever builds. The sand wetter beneath her, the rumble of surf louder. Even slower, by inches she moves, waiting for the touch. Soon, soon. Almost feeling it before it comes. She wants to open her eyes to peek, to see how much longer. But she resists, squinting her lids even tighter, the sky bright behind them, giving no hints. Suddenly she shrieks as the power rushes beneath her, fondles her thighs, between her legs, flows along her back, swirling under her head, pulling her hair in inky strands. She rolls faster into the deepening wave, against streaming shells and ocean bits, the water embracing her. Pushing against the sea’s strong body, she is grasped, held. Not alone. Kya sits up and opens her eyes to the ocean foaming around her in soft white patterns, always changing.

How are you going to build a wall across rivers? Across desert sand and mountains? What about the devastation to the environment? What about the wild animals that live in or around the border, whose migration patterns have already been disrupted and will die of thirst and starvation? The plan is lunacy.

Activities to Develop the Visual System Making Shapes—Let your child draw or form shapes, letters, and numbers in different materials, such as playdough, finger paint, shaving cream, soap foam, sand, clay, string, pudding, or pizza dough. Mazes and Dot-to-Dot Activities—Draw mazes on paper, the sidewalk, or the beach. Have the child follow the mazes with his finger, a toy car, a crayon, a marker, or chalk. On graph paper, make dot-to-dot patterns for the child to follow. Peg Board—Have the child reproduce your design or make his own. Cutting Activities—Provide paper and scissors and have your child cut fringe and strips. Draw curved lines on the paper for her to cut. Cutting playdough is fun, too. Tracking Activities—Lie on your backs outside and watch birds or airplanes, just moving your eyes while keeping your heads still. Jigsaw Puzzles! Block Building!!

Cheobawn froze. The Dark of the Moons. Spider’s children knew of this time as well. It was the one night, in spring, as the snows melted from the high places, when the double moons stayed hidden from sight. It was the night that only occurred every thirty years, when Spider’s children awoke in their shells buried in the warm sand of a thousand nameless beaches on the shores of a thousand nameless seas on a thousand nameless planets. It was the night they remembered that they needed to go home, home to the shallow, salty ocean named Orson’s Sea by a race of humans who had thought themselves immune to the rules of the patterning of the place upon which they stood.

Oatmeal Raisin Crisps Preheat oven to 375° F., rack in the middle position. 1 cup melted butter (2 sticks—½ pound) 2 cups white sugar 2 teaspoons vanilla ½ teaspoon salt 2 teaspoons baking soda 2 large eggs, beaten (just whip them up with a fork) 2 ½ cups flour (no need to sift) 1 cup raisins (either regular or golden, you choose) 2 cups GROUND dry oatmeal (measure before grinding) Melt the butter in a large microwave-safe bowl. Add the sugar and mix. Then mix in the vanilla, salt, and the baking soda. When the mixture has cooled to room temperature, stir in the eggs. Add the flour and stir it all up. Then mix in the raisins. Prepare your oatmeal. (Use Quakers if you have it—the cardboard canister is useful for all sorts of things.) Measure out 2 cups and dump it in the food processor, chopping it with the steel blade until it’s the consistency of coarse sand. Dump it in your dough and mix it all up. (This dough will be fairly stiff.) Roll walnut-sized dough balls with your hands and place them on a greased cookie sheet, 12 to a standard sheet. (If it’s too sticky to roll, place the bowl in the refrigerator for 30 minutes and try again.) Squish the dough balls down with a fork in a crisscross pattern (like peanut butter cookies). Bake at 375 degrees for 10 minutes. Cool on the cookie sheet for 2 minutes, then remove the cookies to a wire rack to cool completely. Andrea likes these and she’s never liked raisins—go figure. Chapter Ten Andrea shivered as Hannah parked at the end of Vera Olsen’s alley.

No machines have been found in the archaeological record to support these assertions, but there is an abundance of circumstantial evidence that leads to such conclusions. Are the machines still intact and lying under the desert sand? Or were they removed completely from the areas? Or could it be that all this evidence points to an earlier civilization that suffered a cataclysm of such magnitude that much of what existed was destroyed, and what remained was susceptible to erosion, decay, and corrosion, and slowly disappeared over a long period of time? This brings us back to Robert Schoch's evaluation of the erosion pattern on the Sphinx and the Sphinx enclosure. He claimed that the period of time when sufficient rain fell in Egypt to cause this erosion was seven to nine thousand years ago. Is this sufficient time for ancient machines to turn to dust and blow away? It seems incredible to imagine, but there is reason to suspect that this could have happened. [...] If we follow the idea of an older civilization, therefore, the pyramids would have already been there before the first dynasty of the ancient Egyptians. The Great Pyramid was, most likely, the zenith of construction on the plateau, and the other pyramids were likely built before it was. Yet something happened to the culture that built the pyramids, and when Khufu came on the scene, he naturally chose the most impressive structure--the Great Pyramid--as his own, and his heirs took turns in claiming the rest. What event could have brought death and destruction to this ancient civilization that is referred to in Egyptian lore as being inhabited by gods of the First Time?

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace—those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move toward death. —FROM “COLLECTED SAYINGS OF MUAD’DIB” BY THE PRINCESS IRULAN

As soon as I was in the open desert the atmosphere changed completely. Anyone who has been in sand dunes will tell you that it is an experience so magical, so personal, yet so otherworldly, that it is never forgotten. The hairdryer heat, the stillness and the beauty of the contrasting horizon; dazzling, clear blue sky turning to pristine yellow/white sand produces a feeling of such vast immenseness that you cannot help but feel humbled. As I was riding I imagined an overhead camera view of me on the bike, the camera slowly pulling further and further back, a snaking tyre trail disturbing the patterns in the sand behind me, until I disappeared like a grain of sand in the ever- changing dune landscape. I defy anyone not to feel small and insignificant in this environment.

Leaphorn took two steps toward the old hearths and stopped abruptly. The floor here was patterned with sand paintings. At least thirty of them,

They are choking on gratitude. They will preach peace and forgiveness while bathing their sorrows in vintage gold, forged by History on twisted spines and bones, shattered between love and shame for the sake of patterns in sand.

Whatever was in the willows, it was made of the negative space between the branches. I don't know if I can explain it any better than that. As the branches moved and swayed and the leaves shifted, they made shapes in all the places that they weren't. Those shapes were full of bodies. Not human bodies. Not even physical bodies as I understood it. But something there nonetheless. Silver light, though here and there I caught glimpses of bronze, patterns of light and shadow moving up through the willow branches. They rose up from the sand and slithered through the willows, huge and inhuman, shifting like smoke.

Not sunflowers, not roses, but rocks in patterned    sand grow here. And bloom. —ROBERT HAYDEN, “Approximations

Whenever we see design, we assume from experience that it came from a designer. We can tell the difference between sand dunes and sand castles, for instance, because we see purposeful design in the castles. None of us would happen upon a sandcastle and believe that it arrived there by chance. Furthermore, when we speak of design we mean a specific, complex design—not simply a pattern of some sort. It is the difference between “BDHIGE-HGDVNB,” which is complex but has no design, “BBBBBBBB,” which has design but is not complex, and “Be back at 8 p.m.,” which is both designed and complex. When we see complex, specific design, we recognize it as the result of an intelligent being.

Sahara, the bright, penetrating lights, the quick drop of comets, a a cold moon, which made the rippling patterns of sand look like a frozen sea. The universe was large all right, but no larger, it appeared, than the whole wide world ahead of me.

TRY: Noticing the resistance to the impulse to give, the worries about the future, the feeling that you may be giving too much, or the thought that it won’t be appreciated “enough,” or that you will be exhausted from the effort, or that you won’t get anything out of it, or that you don’t have enough yourself. Consider the possibility that none of these are actually true, but that they are just forms of inertia, constriction, and fear-based self-protection. These thoughts and feelings are the rough edges of self-cherishing, which rub up against the world and frequently cause us and others pain and a sense of distance, isolation, and diminishment. Giving sands down such rough edges and helps us become more mindful of our inner wealth. By practicing mindfulness of generosity, by giving, and by observing its effects on ourselves and others, we are transforming ourselves, purifying ourselves, discovering expanded versions of ourselves. You may protest that you don’t have enough energy or enthusiasm to give anything away, that you are already feeling overwhelmed, or impoverished. Or you may feel that all you do is give, give, give, and that it is just taken for granted by others, not appreciated or even seen, or that you use it as a way of hiding from pain and fear, as a way of making sure others like you or feel dependent on you. Such difficult patterns and relationships themselves call out for attention and careful scrutiny. Mindless giving is never healthy or generous. It is important to understand your motives for giving, and to know when some kinds of giving are not a display of generosity but rather of fear and lack of confidence. In the mindful cultivation of generosity, it is not necessary to give everything away, or even anything. Above all, generosity is an inward giving, a feeling state, a willingness to share your own being with the world. Most important is to trust and honor your instincts but, at the same time, to walk the edge and take some risks as part of your experiment. Perhaps you need to give less, or to trust your intuition about exploitation or unhealthy motives or impulses. Perhaps you do need to give, but in a different way, or to different people. Perhaps most of all, you need to give to yourself first for a while. Then you might try giving others a tiny bit more than you think you can, consciously noting and letting go of any ideas of getting anything in return. Initiate giving. Don’t wait for someone to ask. See what happens—especially to you. You may find that you gain a greater clarity about yourself and about your relationships, as well as more energy rather than less. You may find that, rather than exhausting yourself or your resources, you will replenish them. Such is the power of mindful, selfless generosity. At the deepest level, there is no giver, no gift, and no recipient…only the universe rearranging itself.

Hearing the rising tide, I think how it is pressing also against other shores I know — rising on a southern beach where there is no fog, but a moon edging all the waves with silver and touching the wet sands with lambent sheen, and on a still more distant shore sending its streaming currents against the moonlit pinnacles and the dark caves of the coral rock. Then in my thoughts these shores, so different in their nature and in the inhabitants they support, are made one by the unifying touch of the sea. For the differences I sense in this particular instant of time that is mine are but the differences of a moment, determined by our place in the stream of time and in the long rhythms of the sea. Once this rocky coast beneath me was a plain of sand; then the sea rose and found a new shore line. And again in some shadowy future the surf will have ground these rocks to sand and will have returned the coast to its earlier state. And so in my mind’s eye these coastal forms merge and blend in a shifting, kaleidoscopic pattern in which there is no finality, no ultimate and fixed reality — earth becoming fluid as the sea itself.

The basic protocols of Aboriginal society, like most societies, include respecting and hearing all points of view in a yarn. Narcissists demand this right, then refuse to allow other points of view on the grounds that any other opinion somehow infringes their freedom of speech or is offensive. They destroy the basic social contract of reciprocity (which allows people to build a reputation of generosity based on sharing to ensure ongoing connectedness and support), shattering this framework of harmony with a few words of nasty gossip. They apply double standards and break down systems of give-and-take until every member of a social group becomes isolated, lost in a Darwinian struggle for power and dwindling resources that destroys everything. Then they move on to another place, another group. Feel free to extrapolate this pattern globally and historically.

Is it enough to live in a universe whose laws spontaneously create life? Or do you prefer ... God?” She paused, looking embarrassed. “Sorry, after all we’ve been through tonight, I know that’s a strange question.” “Well,” Langdon said with a laugh, “I think my answer would benefit from a decent night’s sleep. But no, it’s not strange. People ask me all the time if I believe in God.” “And how do you reply?” “I reply with the truth,” he said. “I tell them that, for me, the question of God lies in understanding the difference between codes and patterns.” Ambra glanced over. “I’m not sure I follow you.” “Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.” Ambra grasped the concept, but not how it related to God. “The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.” Ambra nodded. “So codes always have an intention or awareness behind them.” “Exactly. Codes don’t appear organically; they must be created.” Ambra studied him a long moment. “What about DNA?” A professorial smile appeared on Langdon’s lips. “Bingo,” he said. “The genetic code. That’s the paradox.” Ambra felt a rush of excitement. The genetic code obviously carried data — specific instructions on how to build organisms. By Langdon’s logic, that could mean only one thing. “You think DNA was created by an intelligence!” Langdon held up a hand in mock self-defense. “Easy, tiger!” he said, laughing. “You’re treading on dangerous ground. Let me just say this. Ever since I was a child, I’ve had the gut sense that there’s a consciousness behind the universe. When I witness the precision of mathematics, the reliability of physics, and the symmetries of the cosmos, I don’t feel like I’m observing cold science; I feel as if I’m seeing a living footprint ... the shadow of some greater force that is just beyond our grasp.

July 16 Because you have done this and have not withheld your son, your only son, I will . . . make your descendants as numerous as the stars in the sky . . . because you have obeyed me. (Genesis 22:16–18) From the time of Abraham, people have been learning that when they obey God’s voice and surrender to Him whatever they hold most precious, He multiplies it thousands of times. Abraham gave up his one and only son at the Lord’s command, and in doing so, all his desires and dreams for Isaac’s life, as well as his own hope for a notable heritage, disappeared. Yet God restored Isaac to his father, and Abraham’s family became “as numerous as the stars in the sky and as the sand on the seashore” (v. 17). And through his descendants, “when the time had fully come, God sent his Son” (Gal. 4:4). This is exactly how God deals with every child of His when we truly sacrifice. We surrender everything we own and accept poverty—then He sends wealth. We leave a growing area of ministry at His command—then He provides one better than we had ever dreamed. We surrender all our cherished hopes and die to self—then He sends overflowing joy and His “life . . . that [we] might have it more abundantly” (John 10:10 KJV). The greatest gift of all was Jesus Christ Himself, and we can never fully comprehend the enormity of His sacrifice. Abraham, as the earthly father of the family of Christ, had to begin by surrendering himself and his only son, just as our heavenly Father sacrificed His only Son, Jesus. We could never have come to enjoy the privileges and joys as members of God’s family through any other way. Charles Gallaudet Trumbull We sometimes seem to forget that what God takes from us, He takes with fire, and that the only road to a life of resurrection and ascension power leads us first to Gethsemane, the cross, and the tomb. Dear soul, do you believe that Abraham’s experience was unique and isolated? It is only an example and a pattern of how God deals with those who are prepared to obey Him whatever the cost. “After waiting patiently, Abraham received what was promised” (Heb. 6:15), and so will you. The moment of your greatest sacrifice will also be the precise moment of your greatest and most miraculous blessing. God’s river, which never runs dry, will overflow its banks, bringing you a flood of wealth and grace. Indeed, there is nothing God will not do for those who will dare to step out in faith onto what appears to be only a mist. As they take their first step, they will find a rock beneath their feet. F. B. Meyer

Consider how you can use visual pattern to define a space for its purpose and activity... - In the bathroom, you might want to use rippled or soft undulating patterns to remind yourself of the calmness of water, think water surface, sand, or shell patterns. - In the living room, leafy patterns and forest-inspired shapes and patterns can be relaxing and restorative. - Retreats or quiet spaces such as bedrooms or home offices might benefit from images of sheltered or secluded natural spaces, for example cave-like patterns. - By contrast, lively spaces may suit patterns of more dynamic natural systems, such as waterfalls and rivers. Remember that there is a balance to strive for here. Subtlety is key, so the patterns don't dominate the space and overwhelm you. Also keep in mind that there are no straight lines in nature, so hard edges can appear harsh.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.

Farrah, I can’t promise that the pain will go away, but you never have to feel ashamed for it ever again. About anything.” That thumb continued to run in soft patterns over her cheek. “I promise that I will never let anyone touch you again without your permission.

The connection of closeness, like the law of attraction, is clear to both priest and scientist. So how does the choosing take place? In the same way that vibration separates and unites grains of sand into certain patterns — you can see how some rush to unite — these images of rhythm do not illustrate separation at all. Instead they affirm the consonance of potential combinations.

The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.

So I say call me a Nigga despite not fitting this popular sterotype— despite my lack of a criminal record, my light-skin privilege (I’ve been called a yellow nigga, a sand nigga, and a Spic), my Ivy League diplomas, my respectable salary befitting the occupant of Roy P. Crocker Chair at the University of Southern California Law School, my residence in Black Beverly Hills, my three sons who attended exclusive private high schools and colleges, my respectable rims, my fluency in “talking White,” and my red-headed Irish Catholic mom. Thanks to my lighter shade, academic pedigree, chaired professorship, tax bracket, ZIP code, speech patterns, and mixed ancestory, I am not what cognitive science would call a “prototypical” nigga.

The phosphorescence was particularly good that night. By plunging your hand into the water and dragging it along you could draw a wide golden-green ribbon of cold fire across the sea, and when you dived as you hit the surface it seemed as though you had plunged into a frosty furnace of glinting light. When we were tired we waded out of the sea, the water running off our bodies so that we seemed to be on fire, and lay on the sand to eat. Then, as the wine was opened at the end of the meal, as if by arrangement, a few fireflies appeared in the olives behind us – a sort of overture to the show. First of all there were just two or three green specks, sliding smoothly through the trees, winking regularly. But gradually more and more appeared, until parts of the olive-grove were lit with a weird green glow. Never had we seen so many fireflies congregated in one spot; they flicked through the trees in swarms, they crawled on the grass, the bushes and olive-trunks, they drifted in swarms over our heads and landed on the rocks, like green embers. Glittering streams of them flew out over the bay, swirling over the water, and then, right on cue, the porpoises appeared, swimming in line into the bay, rocking rhythmically through the water, their backs as if painted with phosphorus. In the centre of the bay they swam around, diving and rolling, occasionally leaping high in the air and falling back into a conflagration of light. With the fireflies above and illuminated porpoises below it was a fantastic sight. We could even see the luminous trails beneath the surface where the porpoises swam in fiery patterns across the sandy bottom, and when they leapt high in the air drops of emerald glowing water flicked from them, and you could not tell if it was phosphorescence or fireflies you were looking at. For an hour or so we watched this pageant, and then slowly the fireflies drifted back inland farther down the coast. Then the porpoises lined up and sped out to sea, leaving a flaming path behind them flickered and glowed, and then died slowly, like a glowing branch laid across the bay.

Other Kinds of Fun LARGE MOTOR SKILLS ♦  Take a walk on a balance beam, along the curb, or even down a line on the sidewalk. ♦  Play catch (start with a large, slightly deflated ball). ♦  Jump over things (anything more than a few inches, though, will be too high for most kids this age). ♦  Throw, kick, roll, and toss balls of all sizes. ♦  Ride a tricycle. ♦  Spin around till you drop. ♦  Pound, push, pull, and kick. ♦  Make music using drums, xylophones, flutes, and anything else you have handy. ♦  Play Twister. SMALL MOTOR SKILLS ♦  Puzzles (fewer than twenty pieces is probably best). You might even want to cut up a simple picture from a magazine and see whether your toddler can put it back together. ♦  Draw on paper or with chalk on the sidewalk. ♦  Sculpt with clay or other molding substance. ♦  Finger paint. ♦  Play with string and large beads. ♦  Pour water or sand or seeds from one container to another. ♦  Get a big box (from a dishwasher or refrigerator), then build, paint and decorate a house together. THE BRAIN ♦  Matching games. ♦  Alphabet and number games (put colorful magnetic letters and numbers on the fridge and leave them low enough for the child to reach). ♦  Lots of dress-up clothes. ♦  Dolls of all kinds (including action figures). ♦  Pretending games with “real” things (phones, computer keyboards). ♦  Imaginary driving trips where you talk about all the things you see on the road. Be sure to let your toddler drive part of the way. ♦  Sorting games (put all the pennies, or all the triangles, or all the cups together). ♦  Arranging games (big, bigger, biggest). ♦  Smelling games. Blindfold your toddler and have him identify things by their scent. ♦  Pattern games (small-big/small-big). ♦  Counting games (How many pencils are there?). A FEW FUN THINGS FOR RAINY DAYS (OR ANYTIME) ♦  Have pillow fights. ♦  Make a really, really messy art project. ♦  Cook something—kneading bread or pizza dough is especially good, as is roasting marshmallows on the stove (see pages 214–20 for more). ♦  Go baby bowling (gently toss your toddler onto your bed). ♦  Try other gymnastics (airplane rides: you’re on your back, feet up in the air, baby’s tummy on your feet, you and baby holding hands). ♦  Dance and/or sing. ♦  Play hide-and-seek. ♦  Stage a puppet show. ♦  If it’s not too cold, go outside, strip down to your underwear, and paint each other top-to-bottom with nontoxic, water-based paints. Otherwise, get bundled up and go for a long, wet, sloppy, muddy stomp in the rain. If you don’t feel like getting wet, get in the car and drive through puddles.

I’m a short, fat Jewish guy,” Shapiro had famously remarked on any number of occasions. “If scores of other short, fat Jewish guys flew planes into buildings, shot up malls, and chanted death to America, I’d expect to get closer scrutiny by the TSA. To fail to notice this pattern and keep a closer eye on me, you’d have to have your head in the sand. But I wouldn’t blame the TSA agents for this scrutiny. I’d blame all the fricking short, fat Jewish guys trying to destroy civilization, who are making me look suspicious. Radicalized Muslims are the least tolerant people on Earth—especially when it comes to women, other religions, and other cultures—yet they cry the loudest at any perceived intolerance on the part of the West. And we’re stupid enough to let them put us on the defensive.

The Poised Edge of Chaos Sand sifts down, one grain at a time, forming a small hill. When it grows high enough, a tiny avalanche begins. Let sand continue to sift down, and avalanches will occur irregularly, in no predictable order, until there is a tiny mountain range of sand. Peaks will appear, and valleys, and as sand continues to descend, the relentless sand, piling up and slipping down, piling up and slipping down, piling up - eventually a single grain will cause a catastrophe, all the hills and valleys erased, the whole face of the landscape changed in an instant. Walking yesterday, my heels crushed chamomile and released intoxicating memories of home. Earlier this week, I wrote an old love, flooded with need and desire. Last month I planted new flowers in an old garden bed - one grain at a time, a pattern is formed, one grain at a time, a pattern is destroyed, and there is no way to know which grain will build the tiny mountain higher, which grain will tilt the mountain into avalanche, whether the avalanche will be small or catastrophic, enormous or inconsequential. We are always dancing with chaos, even when we think we move too gracefully to disrupt anything in the careful order of our lives, even when we deny the choreography of passion, hoping to avoid earthquakes and avalanches, turbulence and elemental violence and pain. We are always dancing with chaos, for the grains sift down upon the landscape of our lives, one, then another, one, then another, one then another. Today I rose early and walked by the sea, watching the changing patterns of the light and the otters rising and the gulls descending, and the boats steaming off into the dawn, and the smoke drifting up into the sky, and the waves drumming on the dock, and I sang. An old song came upon me, one with no harbour nor dawn nor dock, no woman walking in the mist, no gulls, no boats departing for the salmon shoals. I sang, but not to make order of the sea nor of the dawn, nor of my life. Not to make order at all. Only to sing, clear notes over sand. Only to walk, footsteps in sand. Only to live.

Some critics claim that scientists, in their desire to explain everything, reduce the wonders of the universe to little more than equations and chemical reactions. To which I say, stand on a beach one day and look at the waves and the patterns of sand dunes through the fingers of your hand. Consider that all these phenomena are connected by the same underlying principles of nature. Consider that all these beautiful patterns emerge from the dissipation of free energy and all start as tiny imperfections.

Drake, or Uncle Billy, or both of them, decided they should drive a pipe—a well casing, it came to be called—down through the sand and clay to bedrock. Drake located two lengths of cast-iron pipe each about nine feet long. Using a windlass to crank a battering ram, they rammed down the first pipe, but the second crushed the upper end of the first, after which Smith drew up a pattern for a thicker-walled pipe and Drake had it cast in ten-foot lengths. (“I could not have suited myself better,” Drake would praise Uncle Billy, “if I could have had a man made to order.

In migration, above all topics, the levels of otherness, of hybridization and plurality, of shifting identities and friendships, are perhaps greater than in many other aspects of life. It is essentially the experience of choosing to forgo everything that is settled and established and moving on to construct a different reality—whether by choice or compulsion. I’d compare this with how wind etches the vast sand dunes in beautiful patterns, but chooses to deconstruct the same later, and rebuild it as it fancies.