Plane View Quotes

Journeys are the midwives of thought. Few places are more conducive to internal conversations than a moving plane, ship or train. There is an almost quaint correlation between what is in front of our eyes and the thoughts we are able to have in our heads: large thoughts at times requiring large views, new thoughts new places. Introspective reflections which are liable to stall are helped along by the flow of the landscape. The mind may be reluctant to think properly when thinking is all it is supposed to do. At the end of hours of train-dreaming, we may feel we have been returned to ourselves - that is, brought back into contact with emotions and ideas of importance to us. It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestice setting keeps us tethered to the person we are in ordinary life, but who may not be who we essentially are. If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.

Look at the view,’ I say against his mouth when we pull back for a breath. His thumb grazes over the plane of my cheek. ‘I am.

The future is as blank as a plane sheet if you don't have an eagle's eye, that's why you should climb to a vantage point to get a good perspective view at your future.

The little planes no longer circled the Empire State Building, but it was still a view that practically conjugated hope: I have hoped; I am hoping; I will hope.

On a long flight, after periods of crisis and many hours of fatigue, mind and body may become disunited until at times they seem completely different elements, as though the body were only a home with which the mind has been associated but by no means bound. Consciousness grows independent of the ordinary senses. You see without assistance from the eyes, over distances beyond the visual horizon. There are moments when existence appears independent even of the mind. The importance of physical desire and immediate surroundings is submerged in the apprehension of universal values. For unmeasurable periods, I seem divorced from my body, as though I were an awareness spreading out through space, over the earth and into the heavens, unhampered by time or substance, free from the gravitation that binds to heavy human problems of the world. My body requires no attention. It's not hungry. It's neither warm or cold. It's resigned to being left undisturbed. Why have I troubled to bring it here? I might better have left it back at Long Island or St. Louis, while the weightless element that has lived within it flashes through the skies and views the planet. This essential consciousness needs no body for its travels. It needs no plane, no engine, no instruments, only the release from flesh which circumstances I've gone through make possible. Then what am I – the body substance which I can see with my eyes and feel with my hands? Or am I this realization, this greater understanding which dwells within it, yet expands through the universe outside; a part of all existence, powerless but without need for power; immersed in solitude, yet in contact with all creation? There are moments when the two appear inseparable, and others when they could be cut apart by the merest flash of light. While my hand is on the stick, my feet on the rudder, and my eyes on the compass, this consciousness, like a winged messenger, goes out to visit the waves below, testing the warmth of water, the speed of wind, the thickness of intervening clouds. It goes north to the glacial coasts of Greenland, over the horizon to the edge of dawn, ahead to Ireland, England, and the continent of Europe, away through space to the moon and stars, always returning, unwillingly, to the mortal duty of seeing that the limbs and muscles have attended their routine while it was gone.

On the plane leaving Tokyo I’m sitting alone in back twisting the knobs on Etch-A-Sketch and Roger is next to me singing “Over the Rainbow” straight into my ear, things changing, falling apart, fading, another year, a few more moves, a hard person who doesn’t give a fuck, a boredom so monumental it humbles, arrangements so fleeting made by people you don’t even know that it requires you to lose any sense of reality you might have once acquired, expectations so unreasonable you become superstitious about ever matching them. Roger offers me a joint and I take a drag and stare out the window and I relax for a moment when the lights of Tokyo, which I never realized is an island, vanish from view but this feeling only lasts a moment because Roger is telling me that other lights in other cities, in other countries, on other planets, are coming into view soon.

Yet there was no doubt that Theodore Roosevelt was peculiarly qualified to be President of all the people. Few, if any Americans could match the breadth of his intellect and the strength of his character. A random survey of his achievements might show him mastering German, French, and the contrasted dialects of Harvard and Dakota Territory; assembling fossil skeletons with paleontological skill; fighting for an amateur boxing championship; transcribing birdsong into a private system of phonetics; chasing boat thieves with a star on his breast and Tolstoy in his pocket; founding a finance club, a stockmen's association, and a hunting-conservation society; reading some twenty thousand books and writing fifteen of his own; climbing the Matterhorn; promulgating a flying machine; and becoming a world authority on North American game mammals. If the sum of all these facets of experience added up to more than a geometric whole - implying excess construction somewhere, planes piling upon planes - then only he, presumably, could view the polygon entire.

Something, most certainly, happens to a diver’s emotions underwater. It is not merely a side effect of the pleasing, vaguely erotic sensation of water pressure on the body. Nor is it alone the peculiar sense of weightlessness, which permits a diver to hang motionless in open water, observing sea life large as whales around him; not the ability of a diver, descending in that condition, to slowly tumble and rotate in all three spatial planes. It is not the exhilaration from disorientation that comes when one’s point of view starts to lose its “lefts” and “down” and gains instead something else, a unique perception that grows out of the ease of movement in three dimensions. It is not from the diminishment of gravity to a force little more emphatic than a suggestion. It is not solely exposure to an unfamiliar intensity of life. It is not a state of rapture with the bottomless blue world beneath one’s feet…it is some complicated mix of these emotions, together with the constant proximity of real terror.

The one great advantage of Bhakti is that it is the easiest and most natural way to reach the great divine end in view; it's great disadvantage is that in its lower forms it oftentimes degenerates into hideous fanaticism. The fanatical crew in Hinduism, Mohammedanism, or Christianity, have always been almost exclusively recruited from these worshippers [sic] on the lower planes of Bhakti. That singleness of attachment (Nishthâ) to a loved object, without which no genuine love can grow, is very often also the cause of the denunciation of everything else. All the weak and undeveloped minds in every religion or country have only one way of loving their own ideal, i.e., by hating every other ideal. Herein is the explanation of why the same man who is so lovingly attached to his own ideal of God, so devoted to his own ideal of religion, becomes a howling fanatic as soon as he sees or hears anything of any other ideal.

If I hold my head to the left and look down at the handle grips and front wheel and map carrier and gas tank I get one pattern of sense data. If I move my head to the right I get another slightly different pattern of sense data. The two views are different. The angles of the planes and curves of the metal are different. The sunlight strikes them differently. If there's no logical basis for substance then there's no logical basis for concluding that what's produced these two views is the same motorcycle.

I just love all this,' Walt says. 'The sights, the smells, making the effort and pushing yourself and getting something that's really hard to get. I'll fly on a plane and people will look out the window at thirty thousand feet and say, 'Isn't this view good enough for you?' And I say no, it's not good enough. I didn't earn it. In the mountains, I earn it.

[Infinity is] a journey around the earth on a plane that goes forever.

And poets, in my view, and I think the view of most people, do speak God's language - it's better, it's finer, it's language on a higher plane than ordinary people speak in their daily lives.

I watched the shadow of our plane hastening below us across hedges and fences, rows of poplars and canals … Nowhere, however, was a single human being to be seen. No matter whether one is flying over Newfoundland or the sea of lights that stretches from Boston to Philadelphia after nightfall, over the Arabian deserts which gleam like mother-of-pearl, over the Ruhr or the city of Frankfurt, it is as though there were no people, only the things they have made and in which they are hiding. One sees the places where they live and the roads that link them, one sees the smoke rising from their houses and factories, one sees the vehicles in which they sit, but one sees not the people themselves. And yet they are present everywhere upon the face of the earth, extending their dominion by the hour, moving around the honeycombs of towering buildings and tied into networks of a complexity that goes far beyond the power of any one individual to imagine, from the thousands of hoists and winches that once worked the South African diamond mines to the floors of today's stock and commodity exchanges, through which the global tides of information flow without cease. If we view ourselves from a great height, it is frightening to realize how little we know about our species, our purpose and our end, I thought, as we crossed the coastline and flew out over the jelly-green sea.

Journeys are the midwives of thought. Few places are more conducive to internal conversations than moving planes, ships or trains. There is an almost quaint correlation between what is before our eyes and the thoughts we are able to have in our heads: large thoughts at times requiring large views, and new thoughts, new places. Introspective reflections that might otherwise be liable to stall are helped along by the flow of the landscape.

No, on the outside view there was nothing for anyone to notice about me. I remained one pillar of a trinity, another pillar was lying only temporarily (temporarily! temporarily! temporarily!) in the hospital, I was the pilot of a three-engine aircraft, one of whose engines had stalled: there is no reason to panic, this is not a crash landing, the pilot has thousands of flight hours behind him, he will land the plane safely on the ground.

Try to forget bit by bit, it will be easier on you. Leave it behind. Then the plane tilts in its escape and over the gray wing the city explodes into view with all its miles and spires and inscrutable hustle and as you try to comprehend this sight you realize that you were never really there at all.

Justin: I am falling so in love with you. Her body electrified. Celeste wiped her eyes and read his text again. The drone of the plane disappeared; the turbulence was no more. There was only Justin and his words. Justin: I lose myself and find myself at the same time with you. Justin: I need you, Celeste. I need you as part of my world, because for the first time, I am connected to someone in a way that has meaning. And truth. Maybe our distance has strengthened what I feel between us since we’re not grounded in habit or daily convenience. We have to fight for what we have. Justin: I don’t know if I can equate what I feel for you with anything else. Except maybe one thing, if this makes any sense. Justin: I go to this spot at Sunset Cliffs sometimes. It’s usually a place crowded with tourists, but certain times of year are quieter. I like it then. And there’s a high spot on the sandstone cliff, surrounded by this gorgeous ice plant, and it overlooks the most beautiful water view you’ve ever seen. I’m on top of the world there, it seems. Justin: And everything fits, you know? Life feels right. As though I could take on anything, do anything. And sometimes, when I’m feeling overcome with gratitude for the view and for what I have, I jump so that I remember to continue to be courageous because not every piece of life will feel so in place. Justin: It’s a twenty-foot drop, the water is only in the high fifties, and it’s a damn scary experience. But it’s a wonderful fear. One that I know I can get through and one that I want. Justin: That’s what it’s like with you. I am scared because you are so beyond anything I could have imagined. I become so much more with you beside me. That’s terrifying, by the way. But I will be brave because my fear only comes from finally having something deeply powerful to lose. That’s my connection with you. It would be a massive loss. Justin: And now I am in the car and about to see you, so don’t reply. I’m too flipping terrified to hear what you think of my rant. It’s hard not to pour my heart out once I start. If you think I’m out of mind, just wave your hands in horror when you spot the lovesick guy at the airport. Ten minutes went by. He had said not to reply, so she hadn’t. Justin: Let’s hope I don’t get pulled over for speeding… but I’m at a stoplight now. Justin: God, I hope you aren’t… aren’t… something bad. Celeste: Hey, Justin? Justin: I TOLD YOU NOT TO REPLY! Justin: I know, I know. But I’m happy you did because I lost it there for a minute. Celeste: HEY, JUSTIN? Justin: Sorry… Hey, Celeste? Celeste: I am, unequivocally and wholly falling in love with you, too. Justin: Now I’m definitely speeding. I will see you soon.

But whatever it is that they believe, the views they hold are altering this world; not only in the spirit, but on the material plane. As they deny the world of the spirit, and the realms of Avalon, so those realms cease to exist for them. They still exist, of course; but not in the same world with the world of the followers of Christ.

Whether you fly infrequently or travel by plane several times a month, take a few minutes appreciating being 30 thousand feet above the earth. Enjoy the spectacular window views.

What if living my entire life in the buckle of the Bible Belt had given me not only a narrow view of the world but also a narrow view of my faith?

There is an allegory for historians in the diverse functions of saw, wedge, and axe. The saw works only across the years, which it must deal with one by one, in sequence. From each year the raker teeth pull little chips of fact, which accumulate in little piles, called sawdust by woodsmen and archives by historians; both judge the character of what lies within by the character of the samples thus made visible without. It is not until the transect is complete that the tree falls, and the stump yields a collective view of the century. By its fall the tree attests the unity of the hodge-podge called history. The wedge on the other hand, works only in radial splits; such a split yields a collective view of all the years at once, or no view at all, depending on the skill with which the plane of the split is chosen[...] The axe functions only at an angle diagonal to the years, and this is only for the peripheral rings of the recent past. Its special function is to lop limbs, for which both the saw and wedge are useless. The three tools are requisite to good oak, and to good history.

Every day, sometimes when I am doing my meditation practice and sometimes when I am working at my computer or sitting in my car waiting for a traffic light to change or sharing a meal with friends, I turn my attention to my breath and visualize myself on some inner plane of the imagination turning my face toward that which is larger than myself—the Great Mystery. I only have to turn my face toward it. I become aware of the temperature of the air touching my cheek. I imagine the molecules of oxygen and hydrogen and carbon dioxide colliding in exuberant activity, caressing the skin of my face. And I become aware that these molecules are alive with a vibration, a presence that is there also in the cells of my skin and in the molecules of those cells and in the atoms and subatomic particles of those. Slowly I turn my attention to an inner view of the landscape around and within me, and I become aware of this presence, like the hum of a great song constantly reverberating throughout and emanating from my body, the chair supporting me, the ground beneath me, and the people around me. And I know this presence as a whole that is larger than the sum of the parts and yet inseparable from the parts—including me—which are in a state of constant change. And I experience this presence, this bloodred thread of being that runs through the dark tapestry of daily life, as that which gives me the ability to truly know each other as another myself—as compassion.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

the center of attention (that might be an understatement). I can be extremely chatty. I find humans delightful and strangers irresistible. I frequently interject in other people’s conversations. (You know that person on the plane

THE ROOT OF RELIGION The idea of literal truth crept into religion relatively late: it is the invention of lawyers, priests and cheese-mongers. The idea of mystery long preceded it, and at the heart of that idea of mystery was an idea of beauty—that is, an idea that this or that view of the celestial and infernal process presented a satisfying picture of form, rhythm and organization. Once this view was adopted as satisfying, its professional interpreters and their dupes sought to reinforce it by declaring it true. The same flow of reasoning is familiar on lower planes. The average man does not get pleasure out of an idea because he thinks it is true; he thinks it is true because he gets pleasure out of it.

The peregrine’s view of the land is like the yachtsman’s view of the shore as he sails into the long estuaries. A wake of water recedes behind him, the wake of the pierced horizon glides back on either side. Like the seafarer, the peregrine lives in a pouring-away world of no attachment, a world of wakes and tilting, of sinking planes of land and water. We who are anchored and earthbound cannot envisage this freedom of the eye. The peregrine sees and remembers patterns we do not know exist: the neat squares of orchard and woodland, the endlessly varying quadrilateral shapes of fields. He finds his way across the land by a succession of remembered symmetries. But what does he understand? Does he really ‘know’ that an object that increases in size is moving towards him? Or is it that he believes in the size he sees, so that a distant man is too small to be frightening but a man near is a man huge and therefore terrifying? He may live in a world of endless pulsations, of objects forever contracting or dilating in size. Aimed at a distant bird, a flutter of white wings, he may feel – as it spreads out beneath him like a stain of white – that he can never fail to strike. Everything he is has been evolved to link the targeting eye to the striking talon.

But our deepest difficulties cannot be resolved merely on a narrowly intellectual plane. Our deepest difficulty is sin, rebellion against God. We have desires in our hearts that resist the Bible’s views and what God has to say. We want to be our own master.

Of all modes of transport, the train is perhaps the best aid to thought. The views have none of the potential monotony of those on a ship or a plane, moving quickly enough for us not to get exasperated but slowly enough to allow us to identify objects. They offer us brief, inspiring glimpses into private domains, letting us see a woman at the precise moment when she takes a cup from a shelf in her kitchen, then carrying us on to a patio where a man is sleeping and then to a park where a child is catching a ball thrown by a figure we cannot see.

Mark Twain famously wrote, “Travel is fatal to prejudice, bigotry, and narrowmindedness, and many of our people need it sorely on these accounts. Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one’s lifetime.

Overhead, an enemy plane had been dragging, drumming slowly round in the pool of night, drawing up bursts of gunfire--nosing, pausing, turning, fascinated to the point for its intent. The barrage banged, coughed, retched; in here the lights in the mirrors rocked. Now down a shaft of anticipating silence the bomb swung whistling. With the shock of detonation, still to be heard, four walls of in here yawped in then bellied out; bottles danced on glass; a distortion ran through the view. The detonation dulled off into the cataracting roar of a split building: direct hit, somewhere else.

Alchemy is neither a premature chemistry nor a psychology in the modem sense, although both of these are to be found in alchemical writings . Alchemy is a symbolic science of natural forms based on the correspondence between different planes of reality and making use of mineral and metal symbolism to expound a spiritual science of the souh For alchemy, nature is sacred, and the alchemist is the guardian of nature considered as a theophany and reflection of spiritual realities . A purely profane chemistry could come into being only when the substances of alchemy became completely emptied of their sacred quality. For this very reason, a re-discovery of the alchemical view of nature, without in any way denying the chemical sciences which deal with substances from another point of view, could reinstate the spiritual and symbolic character of the forms, colours and processes that man encounters throughout his life in the corporeal world.

I'm jittery.It's like the animatronic band from Chuck E. Cheese is throwing a jamboree in my stomach. I've always hated Chuck E. Cheese. Why am I thinking about Chuck E. Cheese? I don't know why I'm nervous.I'm just seeing my mom again. And Seany.And Bridge! Bridge said she'd come. St. Clair's connecting flight to San Francisco doesn't leave for another three hours,so we board the train that runs between terminals,and he walks me to the arrivals area.We've been quiet since we got off the plane. I guess we're tired. We reach the security checkpoint,and he can't go any farther. Stupid TSA regulations.I wish I could introduce him to my family.The Chuck E. Cheese band kicks it up a notch,which is weird, because I'm not nervous about leaving him. I'll see him again in two weeks. "All right,Banana.Suppose this is goodbye." He grips the straps of his backpack,and I do the same. This is the moment we're supposed to hug. For some reason,I can't do it. "Tell your mom hi for me. I mean, I know I don't know her. She just sounds really nice. And I hope she's okay." He smiles softly. "Thanks.I'll tell her." "Call me?" "Yeah,whatever. You'll be so busy with Bridge and what's-his-name that you'll forget all about your English mate, St. Clair." "Ha! So you are English!" I poke him in the stomach. He grabs my hand and we wrestle, laughing. "I claim....no...nationality." I break free. "Whatever,I totally caught you. Ow!" A gray-haired man in sunglasses bumps his red plaid suitcase into my legs. "Hey,you! Apologize!" St. Clair says,but the guy is already too far away to hear. I rub my shins. "It's okay, we're in the way. I should go." Time to hug again. Why can't we do it? Finally, I step forward and put my arms around him. He's stiff,and it's awkward, especially with our backpacks in the way.I smell his hair again. Oh heavens. We pull apart. "Have fun at the show tonight" he says. "I will.Have a good flight." "Thanks." He bites his thumbnail,and then I'm through security and riding down the escalator. I look back one last time. St. Clair jumps up and down, waving at me.I burst into laughter, and his face lights up.The escalator slides down. He's lost from view. I swallow hard and turn around.And then-there they are.Mom has a gigantic smile, and Seany is jumping and waving, just like St. Clair.

Lower [plane] than one of those who perished. It was their war, not mine. I was able to walk out of it, leave it behind. Though God preserved me, the best stories were theirs, and these were cut short. The real story of a war is no story at all - blackness, sadness, silence. The stories they tell of comradeship and valor are all to make up for what they lacked. When I was in the army I was always surrounded by thousands of men, and yet I was almost always alone. Whenever I made friends, they were killed. "If I describe what I saw of war, you'll know it from the point of view of the living, and that is the smallest part of the truth. The truth itself is what was finally apprehended by those who didn't come back.

It is almost impossible to understand the extent to which upheaval agitated, and by that very fact had temporarily enriched, the mind of M. de Charlus. Love in this way produces real geological upheavals of thought. In the mind of M. de Charlus, which only several days before resembled a plane so flat that even from a good vantage point one could not have discerned an idea sticking up above the ground, a mountain range had abruptly thrust itself into view, hard as rock--but mountains sculpted as if an artist, instead of taking the marble away, had worked it on the spot, and where there twisted about one another, in giant and swollen groupings, Rage, Jealousy, Curiosity, Envy, Suffering, Pride, Astonishment, and Love.

Show me a cultural relativist at thirty thousand feet and I’ll show you a hypocrite. Airplanes built according to scientific principles work. They stay aloft, and they get you to a chosen destination. Airplanes built to tribal or mythological specifications, such as the dummy planes of the cargo cults in jungle clearings or the beeswaxed wings of Icarus, don’t.

Seen from an aeroplane high in the air, even the most gigantic skyscraper is only a tall stone black, a mere sculptural form, not a real building in which people can live. But as the plane descends from the great heights there will be one moment when the buildings change character completely. Suddenly, they take on human scale, become houses for human beings like ourselves, not the tiny dolls observed from the heights. This strange tranformation takes place at the instant when the contours of the buildings begin to rise above the horizon so that we get a side view of them instead of looking down on them. The buildings pass into a new stage of existence, become architecture in place of neat toys -- for architecture means shapes formed around man, formed to be lived in, not merely to be seen from outside.

Within a few months Mitch Bush, head veterinarian at the National Zoo, and David Wildt, a young reproductive physiologist working as a postdoctoral fellow in my laboratory at the National Cancer Institute, were on a plane bound for South Africa. Bush is a towering, bearded, giant of a man with a strong interest and acumen in exotic animal veterinary medicine, particularly the rapidly improving field of anesthetic pharmacology. Wildt is a slight and modest Midwestern farm boy, schooled in the reproductive physiology of barnyard animals. His boyish charm and polite shy demeanor mask a piercing curiosity and deep knowledge of all things reproductive. Bush and Wildt's expedition to the DeWildt cheetah breeding center outside Pretoria would ultimately change the way the conservation community viewed cheetahs forever.

Inside the pages of each and every book was a whole other world. He could disappear inside that world whenever he needed to - - whenever he felt the outside world, and other people, pressing in on him - - a pressure from social contact and expectations that was surely routine for everyone else, but affected him much more intensely and inexplicably. But he could also experience things from other people's points of view and learn their lessons alongside them, and - - most important to him - - discover the key to living a happy life. He had a feeling that, outside his rough farming family, people were existing on a very different plane, with their emotions and their desires telegraphed along lines never - ending, vibrating in as - yet - unknown ears, creating little frictions and little sparks. His own life was full of little friction, and even fewer sparks.

Sometimes happiness is like the sound of a plane overhead. You look up to see it but the plane's not there. No matter where you look you can't find it on the sky, although the sound is still there and growing louder. You get a little frantic searching. At the same time you're thinking, this is stupid. But you keep looking and if you do finally see it, you feel absolved. Most of my life I'd been looking for happiness in the wrong parts of the sky.

[ Dr. Lois Jolyon West was cleared at Top Secret for his work on MKULTRA. ] Dr. Michael Persinger [235], another FSMF Board Member, is the author of a paper entitled “Elicitation of 'Childhood Memories' in Hypnosis-Like Settings Is Associated With Complex Partial Epileptic-Like Signs For Women But Not for Men: the False Memory Syndrome.” In the paper Perceptual and Motor Skills,In the paper, Dr. Persinger writes: On the day of the experiment each subject (not more than two were tested per day) was asked to sit quietly in an acoustic chamber and was told that the procedure was an experiment in relaxation. The subject wore goggles and a modified motorcycle helmet through which 10-milligauss (1 microTesla) magnetic fields were applied through the temporal plane. Except for a weak red (photographic developing) light, the room was dark. Dr. Persinger's research on the ability of magnetic fields to facilitate the creation of false memories and altered states of consciousness is apparently funded by the Defense Intelligence Agency through the project cryptonym SLEEPING BEAUTY. Freedom of Information Act requests concerning SLEEPING BEAUTY with a number of different intelligence agencies including the CIA and DEA has yielded denial that such a program exists. Certainly, such work would be of direct interest to BLUEBIRD, ARTICHOKE, MKULTRA and other non-lethal weapons programs. Schnabel [280] lists Dr. Persinger as an Interview Source in his book on remote viewing operations conducted under Stargate, Grill Flame and other cryptonyms at Fort Meade and on contract to the Stanford Research Institute. Schnabel states (p. 220) that, “As one of the Pentagon's top scientists, Vorona was privy to some of the strangest, most secret research projects ever conceived. Grill Flame was just one. Another was code-named Sleeping Beauty; it was a Defense Department study of remote microwave mind-influencing techniques ... [...] It appears from Schnabel's well-documented investigations that Sleeping Beauty is a real, but still classified mind control program. Schnabel [280] lists Dr. West as an Interview Source and says that West was a, “Member of medical oversight board for Science Applications International Corp. remote-viewing research in early 1990s.

Generally she kept her head down, but on the occasions she raised it she was treated to the most intimate of panoramic views: the scattered possessions of the three people she had created. Several small items made her cry: a tiny woollen bootie, a broken orthodontic retainer, a woggle from a cub-scout tie. She had not become Malcolm X's private secretary. She never did direct a movie or run for the Senate. She could not fly a plane. But here was all this.

It would be tedious to continue piling example upon example, statistic upon statistic. For at a certain point, a feeling of deep lethargy sets in, and our reaction is: 'What's the use?' or 'What can one man possibly do?' If we respond in this manner, we are lost. For it is precisely by shifting problems from the trivial to the tragic plane, by forsaking a personal view for a cosmic one, that we rationalize and manage to shrug off our own personal responsibility.

On the Rules of Perspective A bad trick. Mistake. Dishonesty. These are the views of Braque. Why? Braque rejected perspective. Why? Someone who spends his life drawing profiles will end up believing that man has one eye, Braque felt. Braque wanted to take full possession of objects. He said as much in published interviews. Watching the small shiny planes of the landscape recede out of his grasp filled Braque with loss so he smashed them. Nature morte, said Braque.

Suppose that, instead of limiting ‘Earth’ to the solid globe that we 20th century materialists define it as, the archaic ‘Earth’ was everything that lay on the plane of the ecliptic (the orbital plane of the earth around the sun, which we on Earth perceive as the path of the Sun in the sky). This extension of Earth out into the skv would make an Earth that was truly flat. Like the physical Earth the continents of this ‘Greater Earth’ would still be surrounded by water, but the water would be a mighty ocean which stretched out into space to lap at the feet of the stars. Above this ‘Earth’ would be ‘heaven,’ and below it would be the ‘underworld.’ Those stars which disappear from view (‘die’) later reappear (are ‘reborn,’ or released from Hades). * As soon as we accept these suppositions into our world-view, our frame of reference and our perspectives broaden infinitely. Suddenly the space we live in takes on the limitlessness of the space in which the sky-gods live, and our previous assumptions of what might be “real” get stood on their pointy little heads. Now when we think of the Great Flood, a myth which has appeared in ancient cultures all over the earth, it

Jess Pepper's review of the Avalon Strings: 'In a land so very civilized and modern as ours, it is unpopular to suggest that the mystical isle of Avalon ever truly existed. But I believe I have found proof of it right here in Manhattan. To understand my reasoning, you must recall first that enchanting tale of a mist-enshrouded isle where medieval women--descended from the gods--spawned heroic men. Most notable among these was the young King Arthur. In their most secret confessions, these mystic heroes acknowledged Avalon, and particularly the music of its maidens, as the source of their power. Many a school boy has wept reading of Young King Arthur standing silent on the shore as the magical isle disappears from view, shrouded in mist. The boy longs as Arthur did to leap the bank and pilot his canoe to the distant, singing atoll. To rejoin nymphs who guard in the depths of their water caves the meaning of life. To feel again the power that burns within. But knowledge fades and memory dims, and schoolboys grow up. As the legend goes, the way became unknown to mortal man. Only woman could navigate the treacherous blanket of white that dipped and swirled at the surface of the water. And with its fading went also the music of the fabled isle. Harps and strings that heralded the dawn and incited robed maidens to dance evaporated into the mists of time, and silence ruled. But I tell you, Kind Reader, that the music of Avalon lives. The spirit that enchanted knights in chain mail long eons ago is reborn in our fair city, in our own small band of fair maids who tap that legendary spirit to make music as the Avalon Strings. Theirs is no common gift. Theirs is no ordinary sound. It is driven by a fire from within, borne on fingers bloodied by repetition. Minds tormented by a thirst for perfection. And most startling of all is the voice that rises above, the stunning virtuoso whose example leads her small company to higher planes. Could any other collection of musicians achieve the heights of this illustrious few? I think not. I believe, Friends of the City, that when we witnes their performance, as we may almost nightly at the Warwick Hotel, we witness history's gift to this moment in time. And for a few brief moments in the presence of these maids, we witness the fiery spirit that endured and escaped the obliterating mists of Avalon.

Originally, the word power meant able to be. In time, it was contracted to mean to be able. We suffer the difference. Iwas waiting for a plane when I overheard two businessmen. One was sharing the good news that he had been promoted, and the other, in congratulation, said, “More power to you.” I've heard this expression before, but for some reason, I heard it differently this time and thought, what a curious sentiment. As a good wish, the assumption is that power is the goal. Of course, it makes a huge difference if we are wishing others worldly power or inner power. By worldly power, I mean power over things, people, and situations—controlling power. By inner power, I mean power that comes from being a part of something larger—connective power. I can't be certain, but I'm fairly sure the wish here was for worldly power, for more control. This is commonplace and disturbing, as the wish for more always issues from a sense of lack. So the wish for more power really issues from a sense of powerlessness. It is painfully ironic that in the land of the free, we so often walk about with an unspoken and enervating lack of personal freedom. Yet the wish for more controlling power will not set us free, anymore than another drink will quench the emptiness of an alcoholic in the grip of his disease. It makes me think of a game we played when I was nine called King of the Hill, in which seven or eight of us found a mound of dirt, the higher the better, and the goal was to stand alone on top of the hill. Once there, everyone else tried to throw you off, installing themselves as King of the Hill. It strikes me now as a training ground for worldly power. Clearly, the worst position of all is being King of the Hill. You are completely alone and paranoid, never able to trust anyone, constantly forced to spin and guard every direction. The hills may change from a job to a woman to a prized piece of real estate, but those on top can be so enslaved by guarding their position that they rarely enjoy the view. I always hated King of the Hill—always felt tense in my gut when king, sad when not, and ostracized if I didn't want to play. That pattern has followed me through life. But now, as a tired adult, when I feel alone and powerless atop whatever small hill I've managed to climb, I secretly long for anyone to join me. Now, I'm ready to believe there's more power here together.

I even reached a point of detachment where I was able to see clearly that he was a top operator of a complex vehicle who had some great skills and some fundamental problems. The trick to working well with him was to understand that the problems were his, not mine, and they all seemed to stem from his insecurity. He was unable to view his colleagues as anything other than competitors out to destroy him, who therefore needed to be squashed like bugs. Once, flying up to Washington in a NASA jet, I stopped to refuel and a military guy I’d never met before noticed the plane and said, “Hey, do you know ____? What an asshole!

There is only one moment; its events are infinitely unfolding, increasing at every passing second—meaning that they were somehow compressed before. This moment was never smaller, but less beauty was exposed in the physical form, yet still this flower blooms. I think we tend to see time as the events alone; in this sense, we view objects as a means of measurement to time. But we forget the place of events in time is change. I am the measurement to my own happiness; time is the breadth of that beauty, and that beauty is the measurement of this moment’s grandeur. Somehow compressed, potential beauty was enfolded infinitely from the start of time, and now waits in vain for its fullest blossoming. The fact that there is a progression to time proves that time is not infinite; you can’t approach infinity. Time is more like a dot, expanding on a plane that is infinite; but that dot may as well not be growing, because the plane that its on is growing too. Stagnant, this explains what we call “now” that moment, ever unfolding; matter changes, but not the moment; the only proof that a past exists is our memories. What did it feel like to be four? Like now. My memories of a past are an illusion, because they take place in the now, the one moment.

These “green revolutionaries” do not believe that we must forever impotently fall short of the bull’s-eye. They refuse to admit original sin, or inborn neuroses, or even the theosophists’ “Lurker at the Threshold” (one who supposedly eats the heads of those people rash enough to invade the higher planes without an invitation). They will not accept the perpetual barrier between desire and reality lamented by T.S. Eliot in his poem “The Hollow Men.” According to Eliot’s quite orthodox Christian view, there is a “Shadow” that always falls between “the idea and the reality,” “the desire and the spasm,” “the motion and the Act.” This Shadow is, of course, Original Sin and by definition no man or woman can remove it.

That done, we could finally relax about the baggage and start seriously to worry about the state of the plane, which was terrifying. The door to the cockpit remained open for the duration of the flight and might actually have been missing entirely. Mark told me that Air Merpati bought their planes second-hand from Air Uganda, but I think he was joking. I have a cheerfully reckless view of this kind of air travel. It rarely bothers me at all. I don’t think this is bravery, because I am frequently scared stiff in cars, particularly if I’m driving. But once you’re in an airplane, everything is completely out of your hands, so you may as well just sit back and grin manically about the grinding and rattling noises the old wreck of a plane makes as the turbulence throws it around the sky. There’s nothing you can do.

Nothing could have been less in line with contemporary conceptions of art than that the theatre should be divorced from all relation to life and politics. Greek tragedy was in the strictest sense ‘political drama’; the finale of Eumenides, with its fervent prayers for the prosperity of the Attic state, betrays the main purpose of the piece. This political control of the theatre brought back to currency the old view that the poet is guardian of a higher truth and an educator who leads his people up to a higher plane of humanity. Through the performance of tragedies on the state-ordained festivals and the circumstances that tragedy came to be looked upon as the authoritative interpretation of the national myths, the poet once more attains to a position almost equivalent to that of the priestly seer of prehistoric times.

The overhead lights hit the Serch Bythol sculpture on the utmost tier, the sugar crystals shimmering and dancing like a cascade of diamonds. The planes of the cake beneath were clean and crisp, and the sugar-stained glass panels caught every light on the ceiling, throwing back shimmering rainbow rays. Sylvie was most proud of the silhouette that circled the middle stained-glass tiers--the skylines of London and Johnny's family estate in Lancashire. Only when viewed at close range did a second, hidden skyline emerge from within the reflective depths---the fantasy lands of I, Slayer, complete with a tiny, flying dragon. It was a work of art---and even now, she was taken aback by the level of harmony they had achieved, twinning together two very different styles. In honor of the union of two very different people, whose lives would hopefully interlock just as successfully.

For Delta blueman Robert Johnson and his contemporaries, the train was the eternal metaphor for the travelling life, and it still holds true today. There is no travel like it. Train lines carve through all facets of a nation. While buses stick to major highways and planes reduce the unfolding of lives to a bird's eye view, trains putter through the domains of the rich and the poor, the desperate and the idle, rural and urban, isolated and cluttered. Through train windows you see realities rarely visible in the landscaped tourist areas. Those frames hold the untended jungle of a nation's truth. Despite my shredded emotions, there was still no feeling like dragging all your worldly possessions onto a carriage, alone and anonymous, to set off into the unknown; where any and all varieties of adventures await, where you might meet a new best friend, where the love of your life could be hiding in a dingy cafe. The clatter of the tracks is the sound of liberation.

I coined the word 'eucatastrophe': the sudden happy turn in a story which pierces you with a joy that brings tears (which I argued it is the highest function of fairy-stories to produce). And I was there led to the view that it produces its peculiar effect because it is a sudden glimpse of Truth, your whole nature chained in material cause and effect, the chain of death, feels a sudden relief as if a major limb out of joint had suddenly snapped back. It perceives – if the story has literary 'truth' on the second plane (....) – that this is indeed how things really do work in the Great World for which our nature is made. And I concluded by saying that the Resurrection was the greatest 'eucatastrophe' possible in the greatest Fairy Story – and produces that essential emotion: Christian joy which produces tears because it is qualitatively so like sorrow, because it comes from those places where Joy and Sorrow are at one, reconciled, as selfishness and altruism are lost in Love.

Hello, Gwyn,' he said warmly. 'Good to see you again.' Gwyn blushed, shaking herself out of her stupor and bowed low. 'My lord.' Nesta rolled her eyes, and found Rhys watching her. That casual smile sharpened as he met her stare. 'Nesta.' 'Rhysand.' The other two women were glancing between them, the bouncing of their stares almost comical. Cassian just strode to Nesta's side and slung an arm around her shoulders before drawling to Rhys, 'These ladies are going to hand your ass to you in combat soon enough.' Nesta made to step out from under the heavy, sweaty weight of his arm, but Cassian clamped a too-friendly hand on her shoulder, his grin unfaltering. Rhys's gaze slid between them, little warmth to be found in his eyes. But plenty of wariness. Little princeling didn't like her with his friend. Nesta leaned into Cassian. Not much, but enough for a trained warrior like Rhysand to note. A dark, silken hand brushed inside her mind. A request. She debated ignoring it, but found herself opening a small door through the steel, spiked barrier she kept around herself day and night. The door was essentially a peephole, and she allowed what she supposed was the equivalent of her mental face to peer through it to the dark, sparkling plane beyond. What? You are to treat Gwyn with kindness and respect. The thing that stood beyond the fortress of her mind was a creature of claws, scales and teeth. It was veiled from sight beneath writhing shadows and the occasional passing star glinting in the darkness, but every now and then, a glimpse of a wing or talon shone. Mind your own business. Nesta slammed the small viewing hole shut. She blinked, slowly registering Emerie asking Cassian about tomorrow morning's lesson, and what she'd miss today by leaving an hour early. Rhysand's eyes glimmered. Cassian's arm remained around Nesta, and his thumb moved over her shoulder in an idle, reassuring caress. Whether he knew of or sensed her silent conversation with his High Lord, he didn't let on.

She let herself be had. With two women in the room behind her and her staff wandering the halls, she relaxed into his hold and returned his kiss. He tasted of the tea, of the sweetness of sugar; he tasted like a very bad idea that she would soon regret, but not now. Never now, while he kissed her yet. His hand skimmed down her body, shaping her breast. She opened her eyes and discovered him watching her, so blue his eyes were, and his palm over her stiffening nipple suddenly seemed to carry a message, too. The audacity of his touch, paired with the frank boldness of his look, made her laugh from sheer delight. She felt him grin against her mouth. His hand slipped farther yet, seizing her by the waist and pulling her more solidly against him. Her joints felt like melting waxworks, incapable of supporting her. She flung her arms around him and let him have all of her weight—and hit the wall harder yet as he stepped straight into her. Now she was doubly pinned, the tight, taut planes of his body as unyielding as the plaster behind her. Again he kissed her, harder yet, as though trying to convince her of something. What? What was the aim of his persuasion? She kissed him back eagerly, for did he not see? She was already convinced. She found his hair, soft and a touch too long, where it brushed against his collar. The skin beneath was hot and smooth. Her palm wrapped around his nape, and as she gripped him, she shuddered. This need felt elemental. Like hunger or thirst. From the entry hall far below came the sound of voices. They froze. Her eyes snapped open. His were so very, very blue. Someone would see them. They stood in plain view. His face turned into her neck. She heard, felt, the great breath he drew. Very low, against her skin, the roughness of his jaw abrading her, he spoke. “Friendship is not what I want.” Her hands broke free of her caution. They found his back, gathering in handfuls the soft wool of his jacket. Think. There were reasons, very good reasons, to discourage him. Money: he had none. Power: he had too much over her. He simply didn’t realize it.

On another plane, only a brute in a state of irrational fury can imagine that men should be sadistically tortured in order to obtain their consent. Such an act only accomplishes the subjugation of one man by another, in an outrageous relationship between persons. The representative of rational totality is content, on the contrary, to allow the object to subdue the person in the soul of man. The highest mind is first of all reduced to the level of the lowest by the police technique of joint accusation. Then five, ten, twenty nights of insomnia will culminate an illusory conviction and will bring yet another dead soul into the world. From this point of view, the only psychological revolution known to our times since Freud's has been brought about by the NKVD and the political police in general. Guided by a determinist hypothesis that calculates the weak points and the degree of elasticity of the soul, these new techniques have once again thrust aside one of man's limits and have attempted to demonstrate that no individual psychology is original and that the common measure of all human character is matter. They have literally created the physics of the soul.

But it is easy to be angry with the father, the judge, and the friend. It is also fitting, up to a point. Yet it would be a mistake to view them as on a different plane of moral obtuseness, as opposed to merely being on the extreme end of a himpathetic spectrum on which many of us lie. Brock Turner's defenders exhibited forgiving tendencies, and spun exonerating narratives, that are all too commonly extended to men in his position. And such tendencies seem largely from capacities and qualities of which we're rarely critical: such as sympathy, empathy, trust in one's friends, devotion to one's children, and having as much faith in someone's good character as is compatible with the evidence. These are all important capacities and qualities, all else being equal. But they can have a downside, when all else is not equal: for example, when social inequality remains widespread. Their naive deployment will tend to further privilege those already unjustly privileged over others. And this may come at the expense of unfairly impugning, blaming, shaming, further endangering, and erasing the less privileged among their victims. In some cases, the perpetrators, knowing this, select their victims on this basis.

Being in flight is one of the most unnatural, extraordinary, ordinary experiences of modern life. When we climb to 30,000 feet, our perspective looking down at the world becomes that of a deity, and the rules of time and space are altered as we rush over the earth. In flight we are able to view the most remote corners of the natural world and the vast spread of the world we have constructed. It gives us the unique perspective to look at the interaction of the natural and constructed in a truly holistic way. In its totality, the unnatural or extraordinary experience produces great fear and excitement. We confront death a little every time the doors close – and this closeness to death intensifies the extraordinary experience of being in flight. On the other hand, our ‘in flight’ experience is filled with the most unremarkable daily activities: reading a comic book, finishing a crossword puzzle, eating, sleeping. The cabin becomes our shared world, temporally removed from the world that we’ve left back on land. What connects the ordinary and the extraordinary is a powerful trust in the human capacity to take us beyond the mundane. The plane becomes a temple of humanism, where we put faith in all that get us and keeps us up in the air – engineers, pilots, researchers, air traffic controllers – a web of people, underwritten by collective knowledge, keeping us alive, together.

One of the problems is that Dublin is, and I mean literally and topographically, flat - so that everything has to take place on a single plane. Other cities have metro systems, which add depth, and steep hills or skyscrapers for height, but Dublin has only short squat grey buildings and trams that run along the street. And it has no courtyards or roof gardens like continental cities, which at least break up the surface, if not vertically, then conceptually. Have you thought about this before? Maybe even if you haven't, you've noticed it at some subconscious level. It's hard to go very far up in Dublin or very low down, hard to lose yourself or other people, or to gain a sense of perspective. You might think it's a democratic way to organise a city - so that everything happens face to face, I mean, on equal footing. True, no one is looking down on you all from a height. But it gives the sky a position of total dominance. Nowhere is the sky meaningfully punctuated or broken up by anything at all. The Spire, you might point out, and I will concede the Spire, which is anyway the narrowest possible of interruptions, and dangles like a measuring tape to demonstrate the diminutive size of every other edifice around. The totalising effect of the sky is bad for people there. Nothing ever intervenes to block the thing from view. It0s like a memento more. I wish someone would cut a hole in it for you.

And indeed, much of the evidence presented in this book so far would appear to confirm this. From the Boeing executives who built faulty planes, to the Goldman Sachs analysts who lied to their clients before being bailed out by the taxpayer, the capitalist class seems to provide the best evidence that society is made up of innately selfish individuals whose cooperative impulses extend, at best, to their immediate family and friends. But this view is highly one-sided. As we will see in this chapter, people are capable of amazing feats of ingenuity, compassion, and cooperation -even in a social order as brutal and competitive as our own. Capitalism, of course, rewards the opposite behavior: ruthlessness, competitiveness, and self-interest. No wonder these are the behaviors we see most prominently on display at the top of our society. And those at the top are precisely those who benefit from the belief that everyone is just like them. You don't have to look particularly hard to find the view of humanity as inherently selfish repeated by those in positions of authority. The managers at Lucas Aerospace certainly shared this view. And it is no coincidence that Golding was a schoolmaster -he was probably quite used to being disobeyed by his students, and likely saw this as an indication of man's inherent selfishness. But disobedience to authority is not an indication of selfishness; it's an assertion of an individual's autonomy. In fact, the willingness to disobey is precisely what separates genuinely civilized societies from barbarous ones. One only has to listen to the testimony at the Nuremberg trials to see what can happen when people unquestionably obey their superiors.

A more complex way to understand this is the method used by Hermann Minkowski, Einstein’s former math teacher at the Zurich Polytechnic. Reflecting on Einstein’s work, Minkowski uttered the expression of amazement that every beleaguered student wants to elicit someday from condescending professors. “It came as a tremendous surprise, for in his student days Einstein had been a lazy dog,” Minkowski told physicist Max Born. “He never bothered about mathematics at all.”63 Minkowski decided to give a formal mathematical structure to the theory. His approach was the same one suggested by the time traveler on the first page of H. G. Wells’s great novel The Time Machine, published in 1895: “There are really four dimensions, three which we call the three planes of Space, and a fourth, Time.” Minkowski turned all events into mathematical coordinates in four dimensions, with time as the fourth dimension. This permitted transformations to occur, but the mathematical relationships between the events remained invariant. Minkowski dramatically announced his new mathematical approach in a lecture in 1908. “The views of space and time which I wish to lay before you have sprung from the soil of experimental physics, and therein lies their strength,” he said. “They are radical. Henceforth space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an independent reality.”64 Einstein, who was still not yet enamored of math, at one point described Minkowski’s work as “superfluous learnedness” and joked, “Since the mathematicians have grabbed hold of the theory of relativity, I myself no longer understand it.” But he in fact came to admire Minkowski’s handiwork and wrote a section about it in his popular 1916 book on relativity.

If, in the case of Amfortas and the union of spear and Grail, only the sexual problem is discerned, we get entangled in an insoluble contradiction, since the thing that harms is also the thing that heals. Such a paradox is true and permissible only when one sees the opposites as united on a higher plane, when one understands that it is not a question of sexuality, either in this form or in that, but purely a question of the attitude by which every activity, including the sexual, is regulated. Once again I must emphasize that the practical problem in analytical psychology lies deeper than sexuality and its repression. The latter point of view is no doubt very valuable in explaining the infantile and therefore morbid part of the psyche, but as an explanatory principle for the whole of the psyche it is quite inadequate. What lies behind sexuality or the power instinct is the attitude to sexuality or to power. In so far as an attitude is not merely an intuitive (i.e., unconscious and spontaneous) phenomenon but also a conscious function, it is, in the main, a view of life. Our conception of all problematical things is enormously influenced, sometimes consciously but more often unconsciously, by certain collective ideas that condition our mentality. These collective ideas are intimately bound up with the view of life and the world of the past centuries or epochs. Whether or not we are conscious of this dependence has nothing to do with it, since we are influenced by these ideas through the very air we breathe. Collective ideas always have a religious character, and a philosophical idea becomes collective only when it expresses a primordial image. Their religious character derives from the fact that they express the realities of the collective unconscious and are thus able to release its latent energies. The great problems of life, including of course sex, are always related to the primordial images of the collective unconscious. These images are balancing or compensating factors that correspond to the problems which life confronts us with in reality.

Augustine relates in his Confessions how it was decisive for his own path when he learned that the famous philosopher Marius Victorinus had become a Christian. Victorinus had long refused to join the Church because he took the view that he already possessed in his philosophy all the essentials of Christianity, with whose intellectual premises he was in complete agreement.10 Since from his philosophical thinking, he said, he could already regard the central Christian ideas as his own, he no longer needed to institutionalize his convictions by belonging to a Church. Like many educated people both then and now, he saw the Church as Platonism for the people, something of which he as a full-blown Platonist had no need. The decisive factor seemed to him to be the idea alone; only those who could not grasp it themselves, as the philosopher could, in its original form needed to be brought into contact with it through the medium of ecclesiastical organization. That Marius Victorinus nevertheless one day joined the Church and turned from Platonist into Christian was an expression of his perception of the fundamental error implicit in this view. The great Platonist had come to understand that a Church is something more and something other than an external institutionalization and organization of ideas. He had understood that Christianity is not a system of knowledge but a way. The believers’ “We” is not a secondary addition for small minds; in a certain sense it is the matter itself—the community with one’s fellowmen is a reality that lies on a different plane from that of the mere “idea”. If Platonism provides an idea of the truth, Christian belief offers truth as a way, and only by becoming a way has it become man’s truth. Truth as mere perception, as mere idea, remains bereft of force; it only becomes man’s truth as a way that makes a claim upon him, that he can and must tread. Thus belief embraces, as essential parts of itself, the profession of faith, the word, and the unity it effects; it embraces entry into the community’s worship of God and, so, finally the fellowship we call Church. Christian belief is not an idea but life; it is, not mind existing for itself, but incarnation, mind in the body of history and its “We”. It is, not the mysticism of the self-identification of the mind with God, but obedience and service: going beyond oneself, freeing the self precisely through being taken into service by something not made or thought out by oneself, the liberation of being taken into service for the whole.

When I get back, I decide to listen to a talk Ram Dass once gave about what happens after death. When you die, where your consciousness is at the moment of death is a reflection of your level of evolution. If you are ready for the transformation that occurs at the moment of death, when there is a dissolving of the control mechanism and an intensification of all the energies, and you are not identified with all that so that you have equanimity through it, you can witness from a place of presence. You can witness the entire process of dying, and your consciousness doesn’t flicker. Most people, however, are attached to some way of looking at the world, and when that starts to dissolve at the moment of death, they go unconscious. They go through the process unconsciously and pick up the thread later on, because it happens too fast and requires letting go too fast. So the art is to let go before you die, so that when you die, there is no letting go required. That’s the most evolved state. They say in the literature that one who sees the way in the morning can gladly die in the evening. Die before you die, so that when you die you need not die. There is a great quote from Kabir: ‘If you don’t break your ropes while you are alive’—that is, if you don’t break the identification with your body and your personality while you’re alive—‘do you think that ghosts will do it after?’ The idea that the soul will join with the ecstatic just because the body is rotten, that is all fantasy. What is found now is found then. If you find nothing now, you’ll simply end up with an apartment in the city of death. But if you make love with the Divine now, then in the next life, you will have the face of satisfied desire. So plunge into the truth. Find out who your teacher is. Believe in the great sound. In other words, do your sadhana so that you can break the identification now. Then, at the moment of transformation, you can just go. If you have fear, you will be met and guided and protected. There will be beings that are there, who are on other planes, available to give meaning to this transformation for you. So the least conscious beings go unconscious and get reprogrammed. The next more conscious beings meet other beings who guide them and help them. The most conscious beings just let go completely at the moment of death, and they don’t go through more incarnations. The meaning of the wheel of birth and death is that as you get more and more evolved, there is less likelihood that you will keep taking rebirth. From the soul’s point of view, you take rebirth only to work your way out of the illusion of your own separateness.

Spellbinders are characterized by pathological egotism. Such a person is forced by some internal causes to make an early choice between two possibilities: the first is forcing other people to think and experience things in a manner similar to his own; the second is a feeling of being lonely and different, a pathological misfit in social life. Sometimes the choice is either snake-charming or suicide. Triumphant repression of selfcritical or unpleasant concepts from the field of consciousness gradually gives rise to the phenomena of conversive thinking (twisted thinking), or paralogistics (twisted logic), paramoralisms (twisted morality), and the use of reversion blockades (Big Lies). They stream so profusely from the mind and mouth of the spellbinder that they flood the average person’s mind. Everything becomes subordinated to the spellbinder’s over-compensatory conviction that they are exceptional, sometimes even messianic. An ideology emerges from this conviction, true in part, whose value is supposedly superior. However, if we analyze the exact functions of such an ideology in the spellbinder’s personality, we perceive that it is nothing other than a means of self-charming, useful for repressing those tormenting selfcritical associations into the subconscious. The ideology’s instrumental role in influencing other people also serves the spellbinder’s needs. The spellbinder believes that he will always find converts to his ideology, and most often, they are right. However, they feel shock (or even paramoral indignation) when it turns out that their influence extends to only a limited minority, while most people’s attitude to their activities remains critical, pained and disturbed. The spellbinder is thus confronted with a choice: either withdraw back into his void or strengthen his position by improving the ef ectiveness of his activities. The spellbinder places on a high moral plane anyone who has succumbed to his influence and incorporated the experiential method he imposes. He showers such people with attention and property, if possible. Critics are met with “moral” outrage. It can even be proclaimed that the compliant minority is in fact the moral majority, since it professes the best ideology and honors a leader whose qualities are above average. Such activity is always necessarily characterized by the inability to foresee its final results, something obvious from the psychological point of view because its substratum contains pathological phenomena, and both spellbinding and self-charming make it impossible to perceive reality accurately enough to foresee results logically. However, spellbinders nurture great optimism and harbor visions of future triumphs similar to those they enjoyed over their own crippled souls. It is also possible for optimism to be a pathological symptom. In a healthy society, the activities of spellbinders meet with criticism effective enough to stifle them quickly. However, when they are preceded by conditions operating destructively upon common sense and social order; such as social injustice, cultural backwardness, or intellectually limited rulers sometimes manifesting pathological traits, spellbinders’ activities have led entire societies into large-scale human tragedy. Such an individual fishes an environment or society for people amenable to his influence, deepening their psychological weaknesses until they finally join together in a ponerogenic union. On the other hand, people who have maintained their healthy critical faculties intact, based upon their own common sense and moral criteria, attempt to counteract the spellbinders’ activities and their results. In the resulting polarization of social attitudes, each side justifies itself by means of moral categories. That is why such commonsense resistance is always accompanied by some feeling of helplessness and deficiency of criteria.

Yet few are as deep-rooted and damaging as the habitual tendency to view the sensuous earth as a subordinate space—whether as a sinful plane, riddled with temptation, needing to be transcended and left behind; or a menacing region needing to be beaten and bent to our will; or simply a vaguely disturbing dimension to be avoided, superseded, and explained away.

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.

WHEN MY MOTHER made good on our wager of a plane ticket and I found myself in Puerto Rico for two weeks, I had my first chance to view the island through adult eyes and with an evolving new consciousness of my identity.

Steve drove us to the airstrip at the ranger station. One of the young rangers there immediately began to bend his ear about a wildlife issue. I took Robert off to pee on a bush before we had to get on the plane. It was just a tiny little prop plane and there would be no restroom until we got to Cairns. When we came back, all the general talk meant that there wasn’t much time left for us to say good-bye. Bindi pressed a note into Steve’s hand and said, “Don’t read this until we’re gone.” I gave Steve a big hug and a kiss. Then I kissed him again. I wanted to warn him to be careful about diving. It was my same old fear and discomfort with all his underwater adventures. A few days earlier, as Steve stepped off a dinghy, his boot had gotten tangled in a rope. “Watch out for that rope,” I said. He shot me a look that said, I’ve just caught forty-nine crocodiles in three weeks, and you’re thinking I’m going to fall over a rope? I laughed sheepishly. It seemed absurd to caution Steve about being careful. Steve was his usual enthusiastic self as we climbed into the plane. We knew we would see each other in less than two weeks. I would head back to the zoo, get some work done, and leave for Tasmania. Steve would do his filming trip. Then we would all be together again. We had arrived at a remarkable place in our relationship. Our trip to Lakefield had been one of the most special months of my entire life. The kids had a great time. We were all in the same place together, not only physically, but emotionally, mentally, and spiritually. We were all there. The pilot fired up the plane. Robert had a seat belt on and couldn’t see out the window. I couldn’t lift him up without unbuckling him, so he wasn’t able to see his daddy waving good-bye. But Bindi had a clear view of Steve, who had parked his Ute just outside the gable markers and was standing on top of it, legs wide apart, a big smile on his face, waving his hands over his head. I could see Bindi’s note in one of his hands. He had read it and was acknowledging it to Bindi. She waved frantically out the window. As the plane picked up speed, we swept past him and then we were into the sky.

Steve was his usual enthusiastic self as we climbed into the plane. We knew we would see each other in less than two weeks. I would head back to the zoo, get some work done, and leave for Tasmania. Steve would do his filming trip. Then we would all be together again. We had arrived at a remarkable place in our relationship. Our trip to Lakefield had been one of the most special months of my entire life. The kids had a great time. We were all in the same place together, not only physically, but emotionally, mentally, and spiritually. We were all there. The pilot fired up the plane. Robert had a seat belt on and couldn’t see out the window. I couldn’t lift him up without unbuckling him, so he wasn’t able to see his daddy waving good-bye. But Bindi had a clear view of Steve, who had parked his Ute just outside the gable markers and was standing on top of it, legs wide apart, a big smile on his face, waving his hands over his head. I could see Bindi’s note in one of his hands. He had read it and was acknowledging it to Bindi. She waved frantically out the window. As the plane picked up speed, we swept past him and then we were into the sky.

When we got close to the airport, the reality of the public reaction to Steve’s death began to sink in. Members of the media were everywhere. We drove straight through the gates to pull up right next to the charter plane. The last thing I felt like doing at that moment was to talk to anyone about what had happened. I just wanted to get to Steve. As I walked toward the plane, I turned back to thank the police who had helped us. The tears in their eyes shocked me out of my own personal cocoon of grief. This wasn’t just a job for them. They genuinely felt for us, and suffered Steve’s loss. So many other people loved him too, I thought. All during the endless, three-hour plane ride to Maroochydore, I kept flashing back to our fourteen years of adventures together. My mind kept focusing on another plane ride, so similar to this one, when Bindi and I had to fly from the United States back to Australia after Steve’s mum had died. Part of me wished we could have flown forever, never landing, never facing what we were about to. I concentrated on Bindi and Robert, getting them fed and making sure they were comfortable. But the thought of that last sad flight stayed there in the back of my mind. The plane landed at Maroochydore in the dark. We taxied in between hangars, out of public view. I think it was raining, but perhaps it wasn’t, maybe I was just sad. As I came down the steps of the plane, Frank, Joy, and Wes stood there. We all hugged one another. Wes sobbed. We managed to help one another to the hangar, where we all piled into two vehicles for the half-hour drive back to the zoo. I turned on the DVD in the backseat for the kids. I desperately needed a moment without having to explain what was going on. I wanted to talk to Wes, Joy, and Frank. At some point during the ride, Wes reached back and closed the DVD player. The light from the player was giving the press the opportunity to film and photograph us in the car. This was a time to be private and on our own. How clever of Wes to consider that, I thought, right in the middle of everything. “Wes,” I said, “what are we going to do now?

It is the Great Ones, the masters of life, whose light illumines the pathway, even at its commencement, and grows brighter with each step. Their light shines continuously; and it is only the dark clouds in the minds of men that shut it out. These are the Buddhas of Compassion. A Buddha is one who has ascended the rungs of the evolutionary ladder of life, rung by rung, one after the other, and who thus has attained Buddhahood, which means human plenitude of spiritual and intellectual glory, and who has done all this by his own self-devised and self-directed exertions along the far past evolutionary pathway. He is an 'Awakened One,' one who manifests the divinity which is the very core of the core of his own being. The Buddhas of Compassion are the noblest flowers of the human race. They are men who have raised themselves from humanity into quasi-divinity; and this is done by letting the light imprisoned within, the light of the inner god, pour forth and manifest itself through the humanity of the man, through the human soul of the man. Through sacrifice and abandoning of all that is mean and wrong, ignoble and paltry and selfish; through opening up the inner nature so that the god within may shine forth; in other words, through self-directed evolution, they have raised themselves from mere man-hood into becoming god-men, man-gods — human divinity. Every human being is a Buddha unmanifest. Every human being has, in his inner constitution, not only the Celestial Buddha, the Dhyani-Buddha, which is his inner god, but his higher ego, which when expressing itself on earth as a man, is the Manushya-Buddha or Human Buddha. Ordinary men cannot fully and wholly manifest the powers of their higher spiritual will or ego, because ordinary men are too gross; they as vehicles are not yet sufficiently etherealized. They live too much in the planes of material being. They are passional; they are personal, consequently circumscribed, limited. Every human being is an unexpressed Buddha. Even now, within you and above you, it is your higher self, and your higher self is it; and as the ages pass and as you conquer the self in order to become the greater self, you approach with every step nearer and nearer to the “sleeping” Buddha within you. And yet truly it is not the Buddha which is 'asleep'; it is you who are sleeping on the bed of matter, dreaming evil dreams, brought about by your passions, by your false views, by your egoisms, by your selfishness — making thick and heavy veils of personality wrapping around the Buddha within. For here is the secret: the Buddha within you is watching you. Your own inner Buddha has his eye, mystically speaking, on you. His hand is reached compassionately downward toward you, so to speak, but you must reach up and clasp that hand by your own unaided will and aspiration — you, the human part of you — and take the hand of the Buddha within you. A strange figure of speech? Consider then what a human being is: a god in the heart of him, a Buddha enshrining that god, a spiritual soul enshrining the Buddha, a human soul enshrining the spiritual soul, an animal soul enshrining the human soul, and a body enshrining the animal soul. So that man is at the same time one, and many more than one. When a human being has learned all that earth can teach him, he is then godlike and returns to earth no more — except those whose hearts are so filled with the holy flame of compassion that they remain in the schoolroom of earth that they have long since advanced beyond and where they themselves can learn nothing more, in order to help their younger, less evolved brothers. These exceptions are the Buddhas of Compassion.

Haya', in Arabic, conveys the meaning of shame, though the root word of haya ’ is closely associated with life and living. The Prophet stated, “Every religion has a quality that is characteristic of that religion. And the characteristic of my religion is haya, an internal sense of shame, which includes bashfulness and modesty. Most adults alive today have heard it said when they were children, “Shame on you!” Unfortunately, shame has come to be viewed as a negative word, as if it were a pejorative. Parents are now advised never to “shame a child,” never correct a child’s behavior by causing an emotional response. Instead, the current wisdom suggests that people always make the child feel good regardless of his or her behavior. Eventually, what this does is disable naturally occurring deterrents to misbehavior. Some anthropologists divide cultures into shame and guilt cultures. They say that guilt is an inward mechanism and shame an outward one. With regard to this discussion, guilt alludes to a human mechanism that produces strong feelings of remorse when someone has done something wrong, to the point that he or she needs to rectify the matter. Most primitive cultures are not guilt-based, but shame-based, which is rooted in the fear of bringing shame upon oneself and the larger family. What Islam does is honor the concept of shame and take it to another level altogether—to a rank in which one feels a sense of shame before God. When a person acknowledges and realizes that God is fully aware of all that one does, says, or thinks, shame is elevated to a higher plane, to the unseen world from which there is no cover. In fact, one feels a sense of shame even before the angels. So while Muslims comprise a shame-based culture, this notion transcends shame before one’s family—whether one’s elders or parents— and admits a mechanism that is not subject to the changing norms of human cultures. It is associated with the knowledge and active awareness that God is all-seeing of what one does—a reality that is permanent. The nurturing of this realization deters one from engaging in acts that are displeasing and vulgar. This is the essence of the noble prophetic teachings.

Aside from the non-narrative view of things, another lesson. People with too much smoke and complicated tricks and methods in their brains start missing elementary, very elementary things. Persons in the real world can’t afford to miss these things; otherwise they crash the plane. Unlike researchers, they were selected for survival, not complications. So I saw the less is more in action: the more studies, the less obvious elementary but fundamental things become; activity, on the other hand, strips things to their simplest possible model.

Those thoughts had returned even before I was properly back in the city. The pilot's voice crackling through the system - We are now making our final approach for landing - added to the anxiety of return because those ordinary and, by now, banal words seemed to carry some ghostly portent. My thoughts quickly became entangled with one another, so that, in addition to the usual morbid thought sone normally has on a plane, I was saddled with strange mental transpositions: that the plane was a coffin, that the city below was a vast graveyard with white marble and stone blocks of various heights and sizes. But as we broke through the last layer of clouds and the city in its true form suddenly appeared a thousand feet below us, the impression I had was not at all morbid. What I experienced was the unsettling feeling that I had had precisely this view of the city before, accompanied by the equal strong feeling that it had not been from the point of view of a plane.

The jet roared on. After a while Frank gestured out the window. “We’re having beautiful flying weather, Joe. Just look at Cape Cutlass down there.” Below them, the cape spread out in bright sunlight. Not a cloud blocked their view. They could see every turn and twist of the coast, every cove and inlet, for miles in either direction. The landscape zipped past beneath the wing tips as the plane streaked north. Joe

America’s “otherness” is not accepted as such by Europeans or even considered under the rubric of that motto “Other countries—other customs.” On the contrary: The American “other” serves the purpose of turning America on the whole into a laughingstock, of mocking, ridiculing, and sanctimoniously instructing America, but never viewing it as an equal on the same plane with Europe.

We have said that “Alchemy was the attempt to demonstrate experimentally on the material plane the validity of a certain philosophical view of the Cosmos”; now, this “philosophical view of the Cosmos” was Mysticism. Alchemy had its origin in the attempt to apply, in a certain manner, the principles of Mysticism to the things of the physical plane, and was, therefore, of a dual nature, on the one hand spiritual and religious, on the other, physical and material.

Even seasoned military men found it difficult to believe what they were seeing, and admitted to feeling bewildered and disorientated as the attack unfolded. The notion that an actual raid was underway was slow to enter their minds. In the eyewitness accounts, that pattern of belated comprehension is repeated again and again. A plane approaches. ( “Why are those planes flying so low?”) American ground-based antiaircraft guns fire at the intruder. (“Why are the boys shooting at that plane?”) A bomb drops. (“What a stupid, careless pilot, not to have secured his releasing gear.”) It explodes. ( “Somebody goofed big this time. They loaded live bombs on those planes by mistake.”) As the plane turns upward, the Japanese “Rising Sun” insignia comes into view on the underside of the wings. ( “My God! They’re really going all-out! They’ve even painted the rising sun on that plane!”) An American ship explodes. ( “What kind of a drill is this?”) Even then, some men refused to believe that a war had begun that morning—perhaps, as Commander A. L. Seton of the light cruiser St. Louis first guessed, the attacker was “a lone, berserk Japanese pilot who somehow had gotten to Pearl and now would be in trouble with his navy and ours.

What then do we mean by "virgin"? It may help us to examine those ways in which we use the word which are not directly concerned with sex. We speak of a "virgin forest" as being one in which the powers of nature are untrammelled and untouched by man. But we can think of this from two diametrically opposite points of view. We can think of it either from the view of the agricultural pioneer, who would regard it as something to be destroyed and uprooted as soon as possible; or else we can think of it from the point of view of a nature lover who would regard the virgin forest with awe as a supreme manifestation of pregnant nature, and who would oppose all the most enlightened efforts of the agriculturalist or town­-builder to destroy its primitive beauty,—who would, in fact, treat it as inviolably holy. The one would represent "law and order" and the other ''nature". So that we have here two opposite principles, both valid, the law of man in apparently open conflict with the law of God. Yet it is the law of God, the untrammelled law of pregnant though as yet chaotic nature that we dub "virgin", and it is the reduction of that chaos which we call Law and Order. Thus in this sense the word "virgin" does not mean chastity but the reverse, the pregnancy of nature, free and uncontrolled, corresponding on the human plane to unmarried love, in contrast to controlled nature corresponding to married love, despite the fact that from the legal point of view sexual intercourse within the marriage bond is the only kind which is regarded as "chaste".

It’s like the very first time you take off in a plane . . . you’re speeding down the runway, exhilarated when you’re caught by air, and ascending. Minutes later, you’re so stunned you’re flying through the clouds, taking part in an experience so incredible it’s almost impossible to believe. As that initial buzz runs through you, you stare out the window and get your first good look at the landscape, only to see it’s littered with lines that act as borders. So, you start reasoning with yourself that land itself is owned and measured, but you never once expected to see it and how unnatural it looks. The view of the lines kills the vibe entirely, the impact so jarring it destroys the idea of flying for you.

The pleasure of the true dreamer does not lie in the substance of the dream, but in this: that there things happen without any interference from his side, and altogether outside his control. Great landscapes create themselves, long splendid views, rich and delicate colours, roads, houses, which he has never seen or heard of. Strangers appear and are friends or enemies, although the person who dreams has never done anything about them. The ideas of flight and pursuit are recurrent in dreams and are equally enrapturing. Excellent witty things are said by everybody. It is true that if remembered in the day-time they will fade and lose their sense, because they belong to a different plane, but as soon as the one who dreams lies down at night, the current is again closed and he remembers their excellency. All the time the feeling of immense freedom is surrounding him and running through him like air and light, an unearthly bliss. He is a privileged person, the one who has got nothing to do, but for whose enrichment and pleasure all things are brought together.

A woman’s voice came wailing on the wind. Norman looked up and spotted Sandra high up on an even steeper funnel of snow and ice. She was crying: ‘Your father is dead. What are we going to do?’ One of her shoulders was hanging weirdly. There was a bloody wound on her forehead, matted with hair. Then he saw his dad, still in his seat but slumped awkwardly forward. Norman turned around on the steep slope and inched over towards him, sneakers pathetically trying to hold an edge. He slipped and almost plummeted like a bobsleigh down the mountain. He caught a hold. Then he started crawling back up. It took him thirty minutes to climb 6 m (20 ft). His dad was doubled over. ‘DAD!’ No response. Snow was falling on his father’s curly hair. Above him, Sandra sounded delirious. By the time he was four, Norman had skied every black run at Mammoth. On his first birthday, his dad had him strapped to his back in a canvas papoose and took him surfing. Reckless, perhaps, but it had given the boy an indomitable spirit. Eleven-year-old Norman hugged his dad for the last time then tracked back across the slope to see what he could salvage from the wreckage. There were no ice axes or tools, but he did find a rug. He took it and scrabbled back to Sandra. She couldn’t move. Somehow he got her under the ragged remains of the plane’s wing and they wrapped themselves in the rug and fell into an exhausted sleep. Norman was woken around noon by a helicopter. He leapt up, trying to catch the crew’s attention. They came very, very close but somehow didn’t see him. They were going to have to get off this mountain themselves. A brief lull in the storm gave them a sudden view. The slope continued beneath their feet, sickeningly sheer, for hundreds of feet. Then lower down there were woods and the gully levelled a little before a massive ridgeline rose again. Beyond that lay a flatter meadow of snow and, at the edge of the world, a cabin. Sandra wanted to stay put. She was ranting about waiting for the rescuers. For a moment Norman nearly lay down beside her and drifted off to sleep. The

To a highly literate and mechanized culture the movie appeared as a world of triumphant illusions and dreams that money could buy. It was at this moment of the movie that cubism occurred, and it has been described by E. H. Gombrich (Art and Illusion) as “the most radical attempt to stamp out ambiguity and to enforce one reading of the picture — that of a man-made construction, a colored canvas.” For cubism substitutes all facets of an object simultaneously for the “point of view” or facet of perspective illusion. Instead of the specialized illusion of the third dimension on canvas, cubism sets up an interplay of planes and contradiction or dramatic conflict of patterns, lights, textures that “drives home the message” by involvement. This is held by many to be an exercise in painting, not in illusion. In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message. Is it not evident that the moment that the sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.

Nature, never a flat plane, has always more folds and faces still hidden from human view. The world is a prism, not a window. Wherever we look, we find new refractions.

your view of her more like my view of the people on the plane or more like the view of the woman I told you about?

Exceptionalism”—the view that the United States has a right to impose its will because it knows more, sees farther, and lives on a higher moral plane than other nations—was to them not a platitude, but the organizing principle of daily life and global politics.

At least once a month (perhaps on a plane flight where you have a wide choice of free magazines), purposely spend a half-hour reading a magazine with a viewpoint completely contrary to your own. Or listen to a television or radio discussion program of that kind. For example, if your orientation is liberal and progressive, then read respectfully and openly National Review or a similar conservative journal. If you are conservative yourself, choose The Nation or one of its liberal cousins. When you come across an opinion or argument that really rattles your cage, ask yourself these questions to test the validity of the belief of yours that it challenges: • Where and when did you adopt your position? • What evidence or logic would you use to support your belief, and is it really more compelling than what you are reading? • Are any facts or arguments being presented that you have not really taken into account before? • Can you appreciate why the argument being presented could be convincing to the person presenting it and to the many readers who find it convincing? • Can you develop any facts or insights that would make you or the author you are reading change position? • Are there any circumstances or situations that would make the position in the magazine more acceptable or understandable? • Are there any ways in which the view you are reading could be reconciled, even partially, with your own?

During the horrifying attacks against the United States by terrorists on September 11, 2001, the country experienced the reality of criminal violence en masse. We learned of the actions taken aboard a hijacked airplane by some of its passengers that caused the plane to crash into a field instead of, perhaps, the White House or Capitol building. Americans embraced the actions the passengers took to save those who would otherwise have died-actions that required the application of violent force. The passengers had to impose their wills upon the hijackers in order to thwart their mission. I was struck by the unanimity of that public response to violence. Perhaps it was the unbelievable scale of the devastation, or the catastrophic change in our view of our safety and security, that inspired such vast support for greater enforcement measures to combat threats against America.

Sometimes the wings come off the plane,” said Mayor Jacobs, “but people will accept that—if they think you’re trying to get to outer space. We were trying to do the right thing. The community was extraordinarily accepting of that. If you are terrified all the time of being excoriated in the press for some minor screwup, well, I have news for you, all progress happens in fits and starts … The space project would never have happened after the first rocket blew up if people did not accept that.” If you want to change the way people view government, “you have to change the way government views people. If you view them as a necessary evil, they won’t trust you—that is how they will view you.” But government also has to do the little things well, added Jacobs, “because they are not little—the stop signs, the curbs, the sidewalks, mowing the parks—[they are] what make people feel like they are living in a community … We have only one stock in trade—it is not building sidewalks or plowing the streets—it is trust, and if you lose that, you have nothing.

Man doesn’t choose fate. Fate chooses man. That’s the basic world view of drama. And the sense of tragedy comes, ironically enough, not from the protagonist’s weak points but from his good qualities. People are drawn deeper into tragedy not by their defects but their virtues. Irony depends a person, helps them to mature. It’s the entrance to salvation on a higher plane, to a place where you can find a more universal kind of hope.

THE BIGGER PICTURE   During World War II, thousands in factories across the United States constructed parachutes. From the worker’s point of view, the job was tedious. It required stitching endless lengths of colorless fabric, crouched over a sewing machine eight to ten hours a day. A day’s work produced a formless, massive heap of cloth with no visible resemblance to a parachute. In order to motivate workers and keep them concerned with quality, the management in one factory held a meeting. Management informed workers each day of the approximate number of parachutes that had been strapped to the back of pilots, copilots, and other “flying” personnel the previous day. They learned just how many men had jumped to safety from disabled planes as a result of their high-quality work. The managers encouraged their workers to see the big picture on their job. As a second means of motivation, the workers were asked to form a mental picture of a husband, brother, or son who might be the one saved by the parachute they sewed. That factory held one of the highest levels of quality on record!3 Don’t let the tedium of each day’s chores and responsibilities wear you down so you only see the “stitching” in front of you. Keep your eyes on the big picture. Focus on why you do what you do and who will benefit from your work, including those you don’t know and may never meet. You may not have all the answers to the question, “Why am I here?” but you can rest assured, the Lord does! Ultimately, the Bible tells us we will be in heaven for eternity—and that is the biggest picture of all! God is preparing us for heaven, just as He is preparing heaven for us. He is creating us to be the people He wants to live with forever. Whatever mundane tasks or trivial pursuits you undertake today, see them in the light of eternity. They will take on a whole new meaning!   “I GO TO PREPARE A PLACE FOR YOU. AND IF I GO AND PREPARE A PLACE FOR YOU, I WILL COME AGAIN AND RECEIVE YOU TO MYSELF; THAT WHERE I AM, THERE YOU MAY BE ALSO.” JOHN 14:2-3 NKJV

Our consciousness on the physical plane is relatively crude. We view choice making in terms of language, but like time, language is a construct of the physical plane. Nonetheless, on some level and in some way that may be incomprehensible to us now, we chose all the components of who we are—they are not imposed upon it.

Braid groups have many important practical applications. For example, they are used to construct efficient and robust public key encryption algorithms.7 Another promising direction is designing quantum computers based on creating complex braids of quantum particles known as anyons. Their trajectories weave around each other, and their overlaps are used to build “logic gates” of the quantum computer.8 There are also applications in biology. Given a braid with n threads, we can number the nails on the two plates from 1 to n from left to right. Then, connect the ends of the threads attached to the nails with the same number on the two plates. This will create what mathematicians call a “link”: a union of loops weaving around each other. In the example shown on this picture, there is only one loop. Mathematicians’ name for it is “knot.” In general, there will be several closed threads. The mathematical theory of links and knots is used in biology: for example, to study bindings of DNA and enzymes.9 We view a DNA molecule as one thread, and the enzyme molecule as another thread. It turns out that when they bind together, highly non-trivial knotting between them may occur, which may alter the DNA. The way they entangle is therefore of great importance. It turns out that the mathematical study of the resulting links sheds new light on the mechanisms of recombination of DNA. In mathematics, braids are also important because of their geometric interpretation. To explain it, consider all possible collections of n points on the plane. We will assume that the points are distinct; that is, for any two points, their positions on the plane must be different. Let’s choose one such collection; namely, n points arranged on a straight line, with the same distance between neighboring points. Think of each point as a little bug. As we turn on the music, these bugs come alive and start moving on the plane. If we view the time as the vertical direction, then the trajectory of each bug will look like a thread. If the positions of the bugs on the plane are distinct at all times – that is, if we assume that the bugs don’t collide – then these threads will never intersect. While the music is playing, they can move around each other, just like the threads of a braid. However, we demand that when we stop the music after a fixed period of time, the bugs must align on a straight line in the same way as at the beginning, but each bug is allowed to end up in a position initially occupied by another bug. Then their collective path will look like a braid with n threads. Thus, braids with n threads may be viewed as paths in the space of collections of n distinct points on the plane.10

On the one hand, using precise philosophical categories and analyses in scriptures such as the Centrist ones, whose primary aim is to provide the means for the transcendence of dualistic thinking altogether, in order to give way to unmediated direct insight into the nature of all phenomena is like attempting to apply a mathematical formula in order to capture the experience of being completely absorbed in a wonderful piece of music or watching a breathtaking sunset. So, "pure logic" is surely not the ultimate key to understanding Buddhist texts and views, and we should not expect to find the ultimately correct conceptual presentation of facts and experiences on the Buddhist path that by definition lie outside the realm of conceptual mind anyway. Even on the mundane plane, what would be the finally correct presentation of the taste of chocolate? And even if there were such a thing, what would its relevance be for the actual experience of tasting chocolate? After all that has been said here, it should be clear that I do not hold a brief for some kind of "mysticism" or even "irrationalism." At the same time, we must accept that "pure experience" per se does not lead to an understanding of treatises that are grounded in a rational format to speak about something that is beyond the confines of language and reason. In the realm of the actual experience that such texts point to, reason and language have lost all meaning and the work of the scholar has reached its end.

So saying, she managed to straighten- which left her facing the house, looking directly at the blank bow windows of the downstairs parlor. With the storm darkening the skies, the windows were reflective. They reflected the image of a man standing directly behind her. With a gasp, Patience whirled. Her gaze collided with the man's- his eyes were hard, crystalline gray, pale in the weak light. They were focused, intently, on her, their expression one she couldn't fathom. He stood no more than three feet away, large, elegant and oddly forbidding. In the instant her brain registered those facts, Patience felt her heels sink, and sink- into the soft soil of the flower bed. The edge crumbled beneath her feet. Her eyes flew wide- her lips formed a helpless "Oh." Arms flailing, she started to topple back- The man reacted so swiftly his movement was a blur- he gripped her upper arms and hauled her forward. She landed against him, breast to chest, hips to hard thighs. The breath was knocked out of her, leaving her gasping, mentally as well as physically. Hard hands held her upright, long fingers iron shackles about her arms. His chest was a wall of rock against her breasts; the rest of his body, the long thighs that held them braced, felt as resilient as tensile steel. She was helpless. Utterly, completely, and absolutely helpless. Patience looked up and met the stranger's hooded gaze. As she watched, his grey eyes darkened. The expression they contained- intensely concentrated- sent a most peculiar thrill through her. She blinked; her gaze fell- to the man's lips. Long, thin yet beautifully proportioned, they'd been sculpted with a view to fascination. They certainly fascinated her; she couldn't drag her gaze away. The mesmerizing contours shifted, almost imperceptibly softening; her own lips tingled. She swallowed, and dragged in a desperately needed breath. Her breasts rose, shifting against the stranger's coat, pressing more definitely against his chest. Sensation streaked through her, from unexpectedly tight nipples all the way to her toes. She caught another breath and tensed- but couldn't stop the quiver that raced through her. The stranger's lips thinned; the austere planes of his face hardened. His fingers tightened about her arms. To Patience's stunned amazement, he lifted her- easily- and carefully set her down two feet away.

How many planes there are, we do not know. The levels of nature that science discriminates give us no clue, for these all pertain to size which, being an aspect of space, belongs to our plane only. (We discount as irrelevant for present purposes the peculiar modes of space we experience when dreaming.) The entire size-continuum, from minutest particle to our 26-billion-light-year universe, falls along the horizontal arms we see. The planes that bracket this central one—central from our point of view—may be indefinite in number, but even if they are, something can be said about their antipodes. As the levels of reality array themselves along the vertical axis in descending degrees of reality, reality being (as noted in the preceding chapter) worth's final criterion, the bottom of the arm represents the point—a fraction of a degree above absolute zero as we might say—where being phases out completely; all that could lie beyond this margin is a nothing that is as unthinkable as it is non-existent. The top of the axis represents the opposite of this, that is, everything. Opposites being well acquainted, this everything shares in common with its antithesis the fact that it too cannot be imaged, but unlike complete nothingness it can be conceived. Being we experience, whereas nothing, by itself, we do not. The zenith of being is Being Unlimited, Being relieved of all confines and conditionings. The next chapter will discuss it; for now we simply name it. It is All-Possibility, the Absolute, the In-finite in all the directions that word can possibly point." from_The Forgotten Truth_

Benita set the letter down. Connie - her dear Connie, whom she had never even said good-bye to. Whom she had hated - really hated- for so long. But he had always been strong. He had lived his life on a plane of grand ideals and all-encompassing rights and wrongs. His view had been much longer than the trappings of his own life. And she had been the little mouse who could see no farther than her own nose, stumbling over roots and stones, oblivious to the oncoming storm.