Pavement Band Quotes

Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence. Move forward, run my hand around the font. From where I stand, the roof looks almost new - Cleaned, or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce 'Here endeth' much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognisable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique, Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for which was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognized, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.

I’d come across a strap-on penis. It seemed pretty old and was Band-Aid colored, about three inches long and not much bigger around than a Vienna sausage, which was interesting to me. You’d think that if someone wanted a sex toy she’d go for the gold, sizewise. But this was just the bare minimum, like getting AAA breast implants. Who had this person been hoping to satisfy, her Cabbage Patch doll? I thought about taking the penis home and mailing it to one of my sisters for Christmas but knew that the moment I put it in my knapsack, I’d get hit by a car and killed. That’s just my luck. Medics would come and scrape me off the pavement, then, later, at the hospital, they’d rifle through my pack and record its contents: four garbage bags, some wet wipes, two flashlights, and a strap-on penis.

Up rose the scent of green-apple shampoo. Of river stones once the flood has gone. The taste of winter sky laced with sulfur fumes. A kiss beneath a white-hearted tree. A hot still day holding its breath. We removed the contents one by one. There were two blue plastic hair combs. A tough girl's black rubber-band bracelet. A newspaper advertisement for a secretarial school folded in half. A blond braid wrapped in gladwrap. A silver necklace with a half-a-broken-heart pendant. An address, written in a leftward-slanting hand, on a scrap of paper. Ballet shoes wrapped in laces. From the box came the sound of bicycle tires humming on hot pavement. Of bare feet running through crackling grass. Of frantic fingers unstitching an embroidered flower. Of paper wings rising on a sudden wind. Of the lake breathing against the shore. I didn't say anything. I kept very still.

I opened the front door of my parents’ house the next evening. His starched blue denim shirt caught my eye only seconds before his equally blue eyes did. “Hello,” he said, smiling. Those eyes. They were fixed on mine, and mine on his, for more seconds than is customary at the very beginning of a first date. My knees--the knees that had turned to rubber bands that night four months earlier in a temporary fit of illogical lust--were once again as firm as cooked spaghetti. “Hello,” I answered. I was wearing sleek black pants, a violet V-necked sweater, and spiked black boots--a glaring contrast to the natural, faded denim ensemble he’d chosen. Fashionwise, we were hilariously mismatched. I could sense that he noticed this, too, as my skinny heels obnoxiously clomped along the pavement of my parents’ driveway. We talked through dinner; if I ate, I wasn’t aware of it. We talked about my childhood on the golf course; about his upbringing in the country. About my dad, the doctor; about his dad, the rancher. About my lifelong commitment to ballet; about his lifelong passion for football. About my brother Mike; about his older brother, Todd, who had died when he was a teenager. About Los Angeles and celebrities; cows and agriculture. By the end of the evening, I had no idea what exactly I’d even said. All I knew was, I was riding in a Ford F250 diesel pickup with a cowboy--and there was nowhere else on earth I wanted to be.

The archaeologist attached to the Bayard Dominick’s Marquesan team had reported in 1925 that the Marquesas offered “few opportunities for archaeological research.” But in 1956, a new expedition set out to reexamine the possibilities in these islands at the eastern edge of the Polynesian Triangle. An energetic Columbia University graduate student named Robert Suggs was sent ahead to reconnoiter, and he quickly discovered that the previous generation had gotten it all wrong. Everywhere he looked, he saw archaeological potential. “We were seldom out of sight of some relic of the ancient Marquesan culture,” he writes. “Through all the valleys were scattered clusters of ruined house platforms. . . . Overgrown with weeds, half tumbled down beneath the weight of toppled trees and the pressure of the inexorable palm roots, these ancient village sites were sources of stone axes, carved stone pestles, skulls, and other sundry curios.” There were ceremonial plazas “hundreds of feet long” and, high on the cliffs above the deep valleys, “burial caves containing the remains of the population of centuries past.” The coup de grâce came when Suggs and his guide followed up on a report of a large number of “pig bones” in the dunes at a place called Ha‘atuatua. This windswept expanse of scrub and sand lies on the exposed eastern corner of Nuku Hiva. A decade earlier, in 1946, a tidal wave had cut away part of the beach, and since then bones and other artifacts had been washing out of the dunes. Not knowing quite what to expect, Suggs and his guide rode over on horseback. When they came out of the “hibiscus tangle” at the back of the beach and “caught sight of the debris washing down the slope,” he writes, “I nearly fell out of the saddle.” The bones that were scattered all along the slope and on the beach below were not pig bones but human bones! Ribs, vertebrae, thigh bones, bits of skull vault, and innumerable hand and foot bones were everywhere. At the edge of the bank a bleached female skull rested upside down, almost entirely exposed. Where the bank had been cut away, a dark horizontal band about two feet thick could be seen between layers of clean white sand. Embedded in this band were bits of charcoal and saucers of ash, fragments of pearl shell, stone and coral tools, and large fitted stones that appeared to be part of a buried pavement. They had discovered the remains of an entire village, complete with postholes, cooking pits, courtyards, and burials. The time was too short to explore the site fully, but the very next year, Suggs and his wife returned to examine it. There

That's bad, but even worse, dreadful hipster bands like Slint and Pavement have given music fans every excuse to limit their listening to antique arena-rock from the likes of Led Zeppelin and Queen.

I want to finish well. I want to return as a hero, a warrior worthy of the kingdom. I had this vision—I don’t know if it was an actual vision or just my heart’s expression. I saw myself, sword at my side, shield slung over my back, making my way up the main street of the City. I wore the battle gear of war, soiled by long years at the front. People lined both sides of the street to welcome me, the great cloud, I guess; I recognized hundreds of faces, the faces of those whose freedom I fought for. Their smiles and tears filled my heart with profound joy. As I made my way up the street toward Jesus and our Father, my friends and fellow warriors stepped into the street with me, and we moved forward as a band. I saw angels there, maybe the angels who fought for us and with us, walking alongside. I saw flower petals on the pavement; I saw banners flapping in the breeze. We reached the throne and knelt. Jesus came forward and kissed my forehead, and we embraced deeply, freely, like I always knew we would. Then my Father stepped forward and took me by the shoulders and said, “Well done, my son. Very well done indeed. Welcome home.” As we embraced, a great cheer went up from the crowd.

How would some townsman feel who loved his city, and knew that a band of farmers with their ploughs threatened his very pavements and would tear his high buildings down? As he would feel, fearing that turnips would thrive where his busses ran, so I felt and feared for Lisronagh.

We crossed through my favourite town yet, Ein Hod, made up entirely of creatives who had all been interviewed and selected to live there. Everything was a work of art in Ein Hod, from the drinking fountains to the benches and the street lamps; large sculptures dotted the pavements, and houses, converted to art studios, were open to the public.