Pond Lily Quotes

There must be quite a few things a hot bath won’t cure, but I don’t know many of them. Whenever I’m sad I’m going to die, or so nervous I can’t sleep, or in love with somebody I won’t be seeing for a week, I slump down just so far and then I say: 'I’ll go take a hot bath.' I meditate in the bath.The water needs to be very hot, so hot you can barely stand putting your foot in it. Then you lower yourself, inch by inch, till the water’s up to your neck. I remember the ceiling over every bathtub I’ve stretched out in. I remember the texture of the ceilings and the cracks and the colors and the damp spots and the light fixtures. I remember the tubs, too: the antique griffin-legged tubs, and the modern coffin-shaped tubs, and the fancy pink marble tubs overlooking indoor lily ponds, and I remember the shapes and sizes of the water taps and the different sorts of soap holders. I never feel so much myself as when I’m in a hot bath.

The Pond" August of another summer, and once again I am drinking the sun and the lilies again are spread across the water. I know now what they want is to touch each other. I have not been here for many years during which time I kept living my life. Like the heron, who can only croak, who wishes he could sing, I wish I could sing. A little thanks from every throat would be appropriate. This is how it has been, and this is how it is: All my life I have been able to feel happiness, except whatever was not happiness, which I also remember. Each of us wears a shadow. But just now it is summer again and I am watching the lilies bow to each other, then slide on the wind and the tug of desire, close, close to one another, Soon now, I'll turn and start for home. And who knows, maybe I'll be singing.

The first place that I can well remember, was a large pleasant meadow with a pond of clear water in it. Some shady trees leaned over it, and rushes and water-lilies grew at the deep end. Over the hedge on one side we looked into a plowed field, and on the other we looked over a gate at our master's house, which stood by the roadside;

Maybe I can drown him in the lily pond.

To me she looked like a lily, an innocence floating in the pond!

The audience had run to beards and magenta shirts and original ways of arranging its neckwear; and not content with the ravages produced in its over-excitable nervous system by the remorseless workings of its critical intelligence, it had sat through a film of Japanese life called 'Yes,' made by a Norwegian film company in 1915 with Japanese actors, which lasted an hour and three-quarters and contained twelve close-ups of water-lilies lying perfectly still on a scummy pond and four suicides, all done extremely slowly.

The night folded around them with a sweetness and poignancy heightened by the new pale stars that prickled silver fire in the water of the lily ponds, by the scented winds, and by the nearness of each other.

Maroc leaps down to the ring-yard, passes a pond of lilies, then the big stones around a purple willow tree and the sandy ground where only training happens. He fixes the gloves on his hands, just as the knight of Kuhawk should before dealing with an unwanted intruder of this … house? Manor? Palace? … No matter what you call it, if you knew its secrets, you’d call it something else entirely.

The first sorrow of autumn is the slow good-bye of the garden that stands so long in the evening—a brown poppy head, the stalk of a lily, and still cannot go. The second sorrow is the empty feet of a pheasant who hangs from a hook with his brothers. The woodland of gold is folded in feathers with its head in a bag. And the third sorrow is the slow good-bye of the sun who has gathered the birds and who gathers the minutes of evening, the golden and holy ground of the picture. The fourth sorrow is the pond gone black, ruined, and sunken the city of water—the beetle's palace, the catacombs of the dragonfly. And the fifth sorrow is the slow good-bye of the woodland that quietly breaks up its camp. One day it's gone. It has only left litter—firewood, tent poles. And the sixth sorrow is the fox's sorrow, the joy of the huntsman, the joy of the hounds, the hooves that pound; till earth closes her ear to the fox's prayer. And the seventh sorrow is the slow good-bye of the face with its wrinkles that looks through the window as the year packs up like a tatty fairground that came for the children.

Perhaps swimming was dancing under the water, he thought. To swim under lily pads seeing their green slender stalks wavering as you passed, to swim under upraised logs past schools of sunfish and bluegills, to swim through reed beds past wriggling water snakes and miniature turtles, to swim in small lakes, big lakes, Lake Michigan, to swim in small farm ponds, creeks, rivers, giant rivers where one was swept along easefully by the current, to swim naked alone at night when you were nineteen and so alone you felt like you were choking every waking moment, having left home for reasons more hormonal than rational; reasons having to do with the abstraction of the future and one's questionable place in the world of the future, an absurdity not the less harsh for being so widespread.

A pure drop of rain may fall on a beautiful water lily or on a dirty mud pond! This is exactly what happens when we are born!

We can take things slow,” I replied. “I don’t want you dipping in any infected ponds while we’re sharing a lily pad, though.

Does a falcon seek company with a swan amidst the lilies of a pond, or sing duets with a nightingale? Or does he soar through the storm alongside his equal, the hawk? Walking the same rocky path. Swimming the same choppy currents. Sharing courage enough to face a thicket of briars with nothing to gain but pain and flame. That’s the true measure of a companion’s worth.

From Koltovitch's copse and garden there came a strong fragrant scent of lilies of the valley and honey-laden flowers. Pyotr Mihalitch rode along the bank of the pond and looked mournfully into the water. And thinking about his life, he came to the conclusion that he had never said or acted upon what he really thought, and that other people had repaid him in the same way. And so the whole of life seemed to him as dark as this water in which the night sky was reflected and water-weeds grew in a tangle. And it seemed to him that nothing could ever set it right.

I am talking of a place in India, at least a third of the country, a fertile place, full of rice fields and wheat fields and ponds in the middle of those fields choked with lotuses and water lilies, and water buffaloes wading through the ponds and chewing on the lotuses and lilies. Those who live in this place call it the Darkness. Please understand, Your Excellency, that India is two countries in one: an India of Light, and an India of Darkness. The ocean brings light to my country. Every place on the map of India near the ocean is well off. But the river brings darkness to India—the black river.

Like That" Love me like a wrong turn on a bad road late at night, with no moon and no town anywhere and a large hungry animal moving heavily through the brush in the ditch. Love me with a blindfold over your eyes and the sound of rusty water blurting from the faucet in the kitchen, leaking down through the floorboards to hot cement. Do it without asking, without wondering or thinking anything, while the machinery’s shut down and the watchman’s slumped asleep before his small TV showing the empty garage, the deserted hallways, while the thieves slice through the fence with steel clippers. Love me when you can’t find a decent restaurant open anywhere, when you’re alone in a glaring diner with two nuns arguing in the back booth, when your eggs are greasy and your hash browns underdone. Snick the buttons off the front of my dress and toss them one by one into the pond where carp lurk just beneath the surface, their cold fins waving. Love me on the hood of a truck no one’s driven in years, sunk to its fenders in weeds and dead sunflowers; and in the lilies, your mouth on my white throat, while turtles drag their bellies through slick mud, through the footprints of coots and ducks. Do it when no one’s looking, when the riots begin and the planes open up, when the bus leaps the curb and the driver hits the brakes and the pedal sinks to the floor, while someone hurls a plate against the wall and picks up another, love me like a freezing shot of vodka, like pure agave, love me when you’re lonely, when we’re both too tired to speak, when you don’t believe in anything, listen, there isn’t anything, it doesn’t matter; lie down with me and close your eyes, the road curves here, I’m cranking up the radio and we’re going, we won’t turn back as long as you love me, as long as you keep on doing it exactly like that.

there is still somewhere deep within you a beast shouting that the earth is exactly what it wanted— each pond with its blazing lilies is a prayer heard and answered lavishly, every morning, whether or not you have ever dared to be happy, whether or not you have ever dared to pray.

Perhaps swimming was dancing in the water, he thought. To swim under lily pads seeing their green slender stalks wavering as you passed, to swim under upraised logs past schools of sunfish and bluegills, to swim through reed beds past wriggling water snakes and miniature turtles, to swim in small lakes, big lakes, Lake Michigan, to swim in small farm ponds, creeks, rivers, giant rivers where one was swept along easefully by the current, to swim naked alone at night when you were nineteen and so alone you felt like you were choking every waking moment, having left home for reasons more hormonal than rational; reasons having to do with the abstraction of the future and one's questionable place in the world of the future, an absurdity not the less harsh for being so widespread.

Flute Notes from a Reedy Pond" Now coldness comes sifting down, layer after layer, To our bower at the lily root. Overhead the old umbrellas of summer Wither like pithless hands. There is little shelter. Hourly the eye of the sky enlarges its blank Dominion. The stars are no nearer. Already frog-mouth and fish-mouth drink The liquor of indolence, and all thing sink Into a soft caul of forgetfulness. The fugitive colors die. Caddis worms drowse in their silk cases, The lamp-headed nymphs are nodding to sleep like statues. Puppets, loosed from the strings of the puppetmaster Wear masks of horn to bed. This is not death, it is something safer. The wingy myths won't tug at us anymore: The molts are tongueless that sang from above the water Of golgotha at the tip of a reed, And how a god flimsy as a baby's finger Shall unhusk himself and steer into the air.

«Ci sono persone» commenta zia Marta «che non riconoscono la verità neanche se ce l’hanno sotto il naso».

«Ama, non ama. O, o. Nero, bianco. Tu semplifichi tutto, Stephanie. Ma la vita è fatta soprattutto di sfumature grigie. Un po’ sporca, un po’ imperfetta».

sailing paper boats on lily ponds... a city drenched, like a watercolor on an artist’s wall...

Maybe part of the problem is that you’re not making enough time for reflection and solitude and prayer. Are you avoiding God, Joel? Are you trying to run from Him the way Shadow has run from us?” He

Astra is a beauty. (...) Astra is so beautiful that I have no wish to describe her beauty. I will say only that her beauty is the expression of her soul. Her beauty lives in her quiet walk, in her shy movements, in her always-lowered eyelids, in her barely perceptible smile, in the soft outline of her girlish shoulders, in the chastity of her poor, almost beggarly clothing, in her thoughtful grey eyes. She is a white water lily in a pond shadowed by the branches of trees, born amid still, contemplative water. (...) The world of modest female beauty finds its expression in Astra. As for what may lie hidden in the depths of these waters, no-one can say unless he breaks the water's smooth surface, walks barefoot through the cutting sedge and treads the silty, sucking mud — now cold, now strangely warm. But I only stand on the shore, admiring the lily from a distance

The Plain Sense of Things" After the leaves have fallen, we return To a plain sense of things. It is as if We had come to an end of the imagination, Inanimate in an inert savoir. It is difficult even to choose the adjective For this blank cold, this sadness without cause. The great structure has become a minor house. No turban walks across the lessened floors. The greenhouse never so badly needed paint. The chimney is fifty years old and slants to one side. A fantastic effort has failed, a repetition In a repetitiousness of men and flies. Yet the absence of the imagination had Itself to be imagined. The great pond, The plain sense of it, without reflections, leaves, Mud, water like dirty glass, expressing silence Of a sort, silence of a rat come out to see, The great pond and its waste of the lilies, all this Had to be imagined as an inevitable knowledge, Required, as a necessity requires.

Imagine fish swimming in a shallow pond, just below the lily pads, thinking that their “universe” is only two-dimensional. Our three-dimensional world may be beyond their ken. But there is a way in which they can detect the presence of the third dimension. If it rains, they can clearly see the shadows of ripples traveling along the surface of the pond. Similarly, we cannot see the fifth dimension, but ripples in the fifth dimension appear to us as light.

I also enjoy canoeing, and I suppose you will smile when I say that I especially like it on moonlight nights. I cannot, it is true, see the moon climb up the sky behind the pines and steal softly across the heavens, making a shining path for us to follow; but I know she is there, and as I lie back among the pillows and put my hand in the water, I fancy that I feel the shimmer of her garments as she passes. Sometimes a daring little fish slips between my fingers, and often a pond-lily presses shyly against my hand. Frequently, as we emerge from the shelter of a cove or inlet, I am suddenly conscious of the spaciousness of the air about me. A luminous warmth seems to enfold me. Whether it comes from the trees which have been heated by the sun, or from the water, I can never discover. I have had the same strange sensation even in the heart of the city. I have felt it on cold, stormy days and at night. It is like the kiss of warm lips on my face.

As Mrs. Turner took what would be her last walk around the vegetable garden, Smarty, the ginger tabby, materialized to sit beside the flowerpot man, a position that afforded him a bird's-eye view of the petit fishpond. There was a larger, more formal water feature on the western side of the house, a rectangular pool with a leafy canopy above it and marble tiles around the rim, well-fed goldfish gleaming beneath glistening lily pads, but this little pond was far more cheerful: small and shallow, with fallen petals floating on its surface. The cat's focus was absolute as he watched for flickers of rose gold in the water, paw at the ready.

Still, as the Mass went on, things seemed more normal; there were Bible readings, quite familiar, and then the accustomed descent into the vaguely pleasant boredom of a sermon, in which the inevitable Christmas annunciations of “peace,” “goodwill,” and “love” rose to the surface of his mind, tranquil as white lilies floating on a pond of words.

Shortly, she passed what she assumed was the center: a wide expanse of lawn, a white garden bench at each end, and a circular pond enlivened with water lilies and irises. Just like the rest of Aubry Park, at least what she had seen of it, the center of the labyrinth was a charming surprise. A place where she might be inclined to sit and read under other circumstances.

Gerard Manley Hopkins somewhere describes how he mesmerized a duck by drawing a line of chalk out in front of it. Think of me as the duck; the chalk, softly wearing itself away against the tiny pebbles embedded in the corporate concrete, is Joyce's forward-luring rough-smooth voice on the cassettes she gives me. Or, to substitute another image, since one is hardly sufficient in Joyce's case, when I let myself really enter her tape, when I let it surround me, it is as if I'm sunk into the pond of what she is saying, as if I'm some kind of patient, cruising amphibian, drifting in black water, entirely submerged except for my eyes, which blink every so often. Each word comes floating up to me like a thick, healthy lily pad and brushes past my head.

A stone thrown into a pond sets in motion concentric waves that spread out on the surface of the water, and their reverberation has an effect on the water lilies and reeds, the paper boat, and the buoys of the fishermen at various distances. All these objects are just there for themselves, enjoying their tranquility, when they are wakened to life, as it were, and are compelled to react and to enter into contact with one another. Other invisible vibrations spread into the depths, in all directions, as the stone falls and brushes the algae, scaring the fish and continually causing new molecular movements. When it then touches the bottom, it stirs up the mud and bumps into things that have rested there forgotten, some of which are dislodged, others buried once again in the sand.

Morning poem Every morning The world Is created. Under the orange Sticks of the sun The heaped Ashes of the night Turn into leaves again And fasten themselves to the high branches- And the ponds appear Like black cloth On which are painted islands Of summer lilies. If it is your nature To be happy You will swim away along the soft trails For hours, your imagination Alighting everywhere. And if your spirit Carries within it The thorn That is heavier than lead- If it’s all you can do To keep on trudging- There is still somewhere deep within you a beast shouting that the earth is exactly what it wanted- each pond with its blazing lilies is a prayer heard and answered lavishly, every morning, whether or not you have ever dared to be happy, whether or not you have ever dared to pray.

You enthralled me on the first day I was brought to your house. I still remember how you played by the lily pond, every turning of your hand, every fine line of your soft, pink face and rosy lips, and the red leather shoes glittering on your feet - that moment is engraved in my memory. You've grown up now and given me a second life. I see that you're the only one in this world that I will ask to be my wife.

Across the lilies was a pond, its waters a vibrant green from reflecting the trees around it. In the center of the pond swam two elegant white birds, their long necks curved toward one another. "Swans!" Cinderella breathed. She leaned against the bridge's rail and gazed at the pair of swans gliding across the pond. At her side, Charles rested his elbows on the bridge. "They're here every evening before sundown. Sometimes, during sunset, you can see the light dapple their feathers. Look." Rays of golden light stroked the swans' wings, which shimmered against the still waters. "I used to come here whenever I could to watch them," said Prince Charles. "I'm certain it's been the very same pair of swans for years. When I saw them, I'd feel a little less lonely." "How happy they look," mused Cinderella, watching as the swans took flight, their feet skidding across the pond before they soared into the sky. "Free to come and go as they please.

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

A butterfly fluttered from flower to flower in the old garden, gracing the silvery-blue tips of the crocuses and what remained of the icy-white petals of the lady's prized tulips. The yellow strands on the butterfly's wings shimmered in the fading light, and Libby watched the creature in its journey, mesmerized by the graceful rise and fall of its dance. Her arms outstretched, Libby twirled around like she had as a girl, embracing the last rays of sunlight. Here in this garden, she was as free as the butterfly. Here she didn't have to hide. The butterfly climbed above the flowers and soared toward the lily pond. Beyond the pond were more flowers, hundreds of them, and then the trees. Soon the butterfly would curl up under a rock or leaf and rest for the night, hiding in the darkness, alone and vulnerable until the sun powered her wings again at dawn. Libby trailed the creature around the pond to see where it would land. If the night stayed warm, she might curl up beside the butterfly to rest, but not now. She no longer had to hide in these gardens. Soon the moonlight would glaze the paths with gold, and she would explore for hours, enveloped in the shadows and the light.

We cannot take leave of the aquatic plants without briefly mentioning the life of the most romantic of them all: the legendary Val­lisneria, an Hydrocharad whose nuptials form the most tragic episode in the love-history of the flowers. The Vallisneria is a rather insignificant herb, possess­ing none of the strange grace of the Water-lily or of certain submersed comas. But it seems as though nature had delighted in giving it a beautiful idea. The whole existence of the little plant is spent at the bottom of the water, in a sort of half-slumber, until the moment of the wedding-hour in which it aspires to a new life. Then the female flower slowly uncoils the long spiral of its peduncle, rises, emerges and floats and blossoms on the sur­face of the pond. From a neighbouring stem, the male flowers, which see it through the sunlit water, soar in their turn, full of hope, towards the one that rocks, that awaits them, that calls them to a magic world. But, when they have come half-way, they feel themselves suddenly held back: their stalk, the very source of their life, is too short; they will never reach the abode of light, the only spot in which the union of the stamens and the pistil can be achieved! .

It was an irony---and perhaps, even, a foreshadowing---that she had been struck especially by the majesty of the house that long-ago day. It had looked to ten-year-old Jess like something from a fairy tale, standing tall with its gleaming weatherboards and elaborate tangle of wisteria branches. The longest boughs of the tallest trees arched together to form a proscenium around the house at center stage, the sweep of green leaves fell away on all sides, and the round pond was just visible on the western slope, with its glossy lily pads and graceful stone statue. The effect was of a place set apart from the rest of the big wide world.

Optimal Tower is a skyscraper unlike its predecessors, rising skyward as an artistic endeavor, spirited and soulful, with a steel and glass manifestation reminiscent of Claude Monet's water lilies, and instantly dismissive of the gray, steel and mortar structures of the past. The architects and builders have pilfered Monet's color pallet and painted this vertical stretch of the Cavanaugh skyline with the delicate greens and blues and grays and yellows of Giverny. Somehow, in the structure, the sensibility of an impressionist painting emerges as the muted colors are faded in splotches and sunlit in others, with gradual transitions as subtle as the delicate brush strokes of the master himself. Steel beams crisscross haphazardly throughout the towering facade, which only reinforces its intrinsic impressionistic essence by emulating the natural randomness of the lily pond. Atop the structure, a simple fifty foot spire seems to rein in the freeform work beneath it as it merges the natural splendor into one straight pinnacle skyward. This one hundred and fifteen story building reaches twenty-five stories above its surroundings, creating a gloriously artful and peaked skyline not unlike the Alps in France that will be instantly recognizable the world over and cause onlookers to gasp and utter, "C'est Magnifique.

This garden was peaceful and calm. Pink cherry blossoms and violet plum blossoms graced the sweeping trees. The petals fell like snowflakes, dancing and swirling until they touched the soft, verdant grass. There was something familiar about this place. Her eyes traveled down the flat stone steps. She knew this path, knew those stones. The third one from the bottom had a crack in the middle- from when she was five and the neighbor's boy convinced her there were worms on the other side of the stones. She'd hammered the stone in half, eager to catch a few worms to play with. There weren't any, of course, but her mother had helped her find some dragonflies by the pond instead, and they'd spent an afternoon counting them in the garden. Mulan smiled wistfully at the memory. This can't be the same garden. I'm in Diyu. Yet no painter could have re-created what she saw more convincingly. Every detail was as she remembered. At the bottom of the stone-cobbled path was a pond with rose-flushed lilies, and a marble bench under the cherry tree. She used to play by the pond when she was a little girl, catching frogs and fireflies in wine jugs and feeding the fish leftover rice husks and sesame seeds until her mother scolded her. And beyond the moon gate was- Mulan's hand jumped to her mouth. Home. That smell of home- of Baba's incense from the family temple, sharp with amber and cedar; of noodles in Grandmother Fa's special pork broth; of jasmine flowers that Mama used to scent her skin.

As I walked, I became aware of the strong odor of peonies and jasmine. I inhaled deeply to draw in the lovely bouquet. The scent was from the fresh flowers of a lush garden. The path opened into a courtyard, a tangle of peonies and jasmine framing the entrance, blooming in spectacular fashion. Silky petals brushed against my skin. The tension building in my neck and shoulders melted away as I entered a fairyland. The rustle of the night breeze joined the familiar voice of Teresa Teng echoing from invisible speakers. Beneath my feet, a path of moss-covered stones led to a circular platform surrounded by a large, shallow pond. The night garden was bursting with a palette of muted greens, starlit ivories, and sparkling golds: the verdant lichen and waxy lily pads in the pond, the snowy white peonies and jasmine flowers, and the metallic tones of the fireflies suspended in the air, the square-holed coins lining the floor of the pond, and the special golden three-legged creatures resting on the floating fronds. I knew these creatures from my childhood. The feng shui symbol of prosperity, Jin Chan was transformed into a golden toad for stealing the peaches of immortality. Jin Chan's three legs represented heave, earth, and humanity. Statues of him graced every Chinese home I had ever been in, for fortune was a visitor always in demand. Ma-ma had placed one near the stairs leading to the front door. The pond before me held eight fabled toads, each biting on a coin. If not for the subtle rise and fall of their vocal sacs, I would have thought them statues.

The hill between the manor and forest displayed layers of Lady Croft's prized gardens. Paved pathways wove through a formal Italian garden, rose garden, water garden, lily pond, and a tulip garden built around Roman ruins. Maggie stood beside a statue of the goddess Hemera and a row of yew bushes that had been neatly pruned into a wall to form the perimeter of the Croft family maze. Walter sat nearby on a picnic blanket as she scanned the hillside above the maze to see if she could find Libby's copper-streaked hair among the immaculate gardens and all the people dressed in their finest for this entree into Ladenbrooke's gardens. The Croft family opened the front gate to the public once each summer. Hundreds of people from around the Cotswolds came to peruse Lady Croft's magnificent displays- the golden heather, purple dahlias, peach lilies floating on the pond.

There must be quite a few things a hot bath won’t cure, but I don’t know many of them. Whenever I’m sad I’m going to die, or so nervous I can’t sleep, or in love with somebody I won’t be seeing for a week, I slump down just so far and then I say: “I’ll go take a hot bath.” I meditate in the bath. The water needs to be very hot, so hot you can barely stand putting your foot in it. Then you lower yourself, inch by inch, till the water’s up to your neck. I remember the ceiling over every bathtub I’ve stretched out in. I remember the texture of the ceilings and the cracks and the colors and the damp spots and the light fixtures. I remember the tubs, too: the antique griffin-legged tubs, and the modern coffin-shaped tubs, and the fancy pink marble tubs overlooking indoor lily ponds, and I remember the shapes and sizes of the water taps and the different sorts of soap holders. I never feel so much myself as when I’m in a hot bath.

From somewhere in the garden came the sound of a magpie singing, and a thousand days of childhood arrived with it. Jess glanced to her right and spotted the black-and-white bird perched atop the statue in the middle of the pond. There were magpies in England, too--- Jess had seen them often on the Heath--- but although they shared a name, they were different from their antipodean cousins: smaller, neater, prettier, and without the eerily sublime song. This magpie was looking directly at her. Jess tilted her head, watching the bird as he watched her. Suddenly, he spread his wings and flew away. She crossed the turning circle toward the lawn. The grass was still damp with dew, even though the sun was rising fast, and cool shadows stretched toward the harbor. Jess reached the edge of the pond and followed the line of its curved rim until the elegant stone lady was directly before her, kneeling as she always had, arms folded above her head, face bowed to gaze at the goldfish and lilies.

But the psychological change accompanying these technologies is more subtle, and perhaps more important. Consciously and unconsciously, we have gradually grown accustomed to experiencing the world through disembodied machines and instruments. As I stood in line to board an airplane recently, the young woman in front of me was primping in her mirror—straightening her hair, putting on lipstick, patting her checks with blush—a female ritual that has been repeated for several thousand years. In this case, however, her “mirror” was an iPhone in video mode, pointed at herself, and she was reacting to a digitized image of herself. I take walks in a federally protected wildlife preserve near my home in Massachusetts. A dirt trail winds for a mile around a lake teeming with beavers and fish, wild ducks and geese, aquatic frogs. Bulrushes and cattails wrap the perimeter of the pond, water lilies float here and there, rippling when a fish goes by. In the winter, the air is crisp and sharp, in the summer soft and aromatic. And a thick silence lies across the park, broken only by the honking of geese and the croaking of frogs. It is a place to smell, to see, to feel, to quietly let one’s mind wander where it wants. More and more commonly, I see people here talking on their cell phones as they walk around the trail. Their attention is focused not on the scene in front of them, but on a disembodied voice coming from a small box. And they are disembodied themselves. Where are their minds and bodies? Certainly not present in the park. Nor can they be located in the electromagnetic waves and digital signals flowing through cyberspace. Only their voices can be found at the other end of their conversations, in the offices and boardrooms and homes of the people they are talking to. They are attempting to be several places at once, like quantum waves. But I would argue that they are nowhere.

Yes! No! How necessary it is to have opinions! I think the spotted trout lilies are satisfied, standing a few inches above the earth. I think serenity is not something you just find in the world, like a plum tree, holding up its white petals. The violets, along the river, are opening their blue faces, like small dark lanterns. The green mosses, being so many, are as good as brawny. How important it is to walk along, not in haste but slowly, looking at everything and calling out Yes! No! The swan, for all his pomp, his robes of glass and petals, wants only to be allowed to live on the nameless pond. The catbrier is without fault. The water thrushes, down among the sloppy rocks, are going crazy with happiness. Imagination is better than a sharp instrument. To pay attention, this is our endless and proper work.

Today’s self-multiplying debt overhead absorbs profits, rents, personal income and tax revenue in a process whose mathematics is much like that of environmental pollution. Evolutionary biologist Edward O. Wilson demonstrates how impossible it is for growth to proceed at exponential rates without encountering a limit. He cites “the arithmetical riddle of the lily pond. A lily pod is placed in a pond. Each day thereafter the pod and then all its descendants double

Was that too much too fast, he asks. I thought you wanted me to, I thought that's why you came-- why did you come? The fountain is in full flair, sending water down the terraces to froth in the lily pad pond below. From this point we can see all the way to the White House and all the buildings between, locked in place, unmoved. I came because you have showed me something inside me that I can't control, because now the world before with its rules and requirements is not enough, I want to say, but I cannot speak.

Communication is at the root of all business strengths—and weaknesses. When things go wrong and employees become upset, whether at a restaurant, a law firm, a hardware store, a university, or a major corporation, nine times out of ten the justifiable complaint is, “We need to communicate more effectively.” I admit that for many years, I didn’t really know what this meant. I had no problem standing up in front of a group to give a talk. I thought I was a pretty good communicator, but then it dawned on me: communicating has as much to do with context as it does content. That’s called setting the table. Understanding who needs to know what, when people need to know it, and why, and then presenting that information in an entirely comprehensible way is a sine qua non of great leadership. Clear, timely communication is the key to applying constant, gentle pressure. To illustrate the point, I teach our managers about the “lily pad” theory. Imagine a pond filled with lily pads and a frog perched serenely atop each one. For the fun of it, a little boy tosses a small pebble into the water, which breaks the surface of the pond but causes just a tiny ripple. The frogs barely notice, and don’t budge. Enjoying himself, the boy next tosses a larger stone into the center of the pond, sending stronger ripples that cause all of the lily pads to rock and tilt. Some frogs jump off their lily pads, while others cling to avoid falling off. But the ripples affect them all. Not content, the boy then hurls a huge rock, which creates a wave that knocks each and every frog into the water. Some frogs are frightened. All are angry (assuming that frogs get angry). If only the frogs had had some warning about the impending rock toss, each one could have timed its jump so that the wave would have had no serious impact. Grasping the lily pad theory and training yourself and your managers to implement it prevents many, if not all, communication problems.

The unusual, poetic place names dazzled Trifa: the Land of the Leopard; the Sea of Doubt; the Path of Dreams; the City of Waiting; Hope Mountain; Doves’ Shore; Violinistan; the Blue Butterfly; the Garden of the Stars’ Suicide; the Lily Pond; the Town of Blooms; the Stream of Sadness; the Tiger Garden; and many others. One glance at the map told Trifa she was dealing with an Imaginative Creature, one living aloof from the world and unaware of all the other Imaginative Creatures.

a bit too straight and narrow for my liking. What's the point in having a confessional if you don't want your congregation to get up

It is some water lilies and a skull in a decorative pond, and a tiny goldfish swimming like an animated change-purse made of brightness and surprises observing the moment through its empty eye.

If it is your nature to be happy you will swim away along the soft trails for hours, your imagination alighting everywhere. And if your spirit carries within it the thorn that is heavier than lead — if it’s all you can do to keep on trudging — there is still somewhere deep within you a beast shouting that the earth is exactly what it wanted — each pond with its blazing lilies is a prayer heard and answered lavishly, every morning, whether or not you have ever dared to be happy, whether or not you have ever dared to pray.

Do/Do Not I sniff the blooming tiger lily, two tongues sprung open from one mouth. I poison the river unintentionally. I walk on the designated paths. I splice the mountain, its body and mouth gaping. I collect rainwater in a wheelbarrow. I line the whale’s belly with gifts until they rupture its stomach. I water the strawberries. Again I fill my gas tank with dead things, generations spun together until shiny. I feed the ducks fresh lettuce. I maneuver the dead squirrel on the road, mark the moment when creature becomes meat. I accept that my love is a poisonous flower, routinely fatal. I calculate the force of loving in each glittering death. All day on this land, in the deep forest, the electric greens and still-wet mud writhe with life. The pond gurgles and whispers. Everyone here knows to shudder when they see me coming. The mangos arrive unbruised at the grocery store. The wolves should start running.

Slipping past a patch of reeds, I slow to look for the purple gallinule, Porphyrula martinica. My father called it a pond chicken. No dead bird skin can capture the way this creature walks weightlessly over lily pads and floating reeds. That's why I've come out today, after all---to get the gizz of one purple pond chicken. I skim close to every clump of bulrush, wild rice, and pickerelweed. For a moment, the only sound is my paddle and the water. Then here come the moorhens, cousins to the gallinule, swimming around me. Their beaks are white, and their feathers are black, where the gallinule's are blue, violet, and rainbow-shine green. They start up with their high, collective cackle. "Listen to 'em laughing at us," my dad would say. "Get out there," Estelle said, "before you lose touch." What exactly was that supposed to mean? I spy a limpkin among the reeds, poking its tweezer-like beak in the mud for apple snails. Crying birds, they call them, because of the baleful sound they make trying to get a mate into their nest. It almost sounds like a baby's wail. I do a quick sketch of the limpkin's long legs and slender, curving bill, the variegation of its brown and white feathers.

You Loved a Woman Once" She told you of childhood summers, mayflies trembling beside the bridge of her nose, hunting frogs. Skinning them on a brick, the house smelling like their small, fried legs. All she wanted was for you to carry her home in a canoe with paddles, life vests, a flare. You promised to teach her how to swim when she was in your arms. Your own body, broken into so many times, became a clear lake for her to bathe in. Remember pulling the one tiny, suckering leech from below her neck, the pale collarbone Braille it left. You said the boat was her shoulder in your mouth, even when you couldn’t bear her epaulets of freckles, even when nothing but a body would do and there was no body but her own. Below her—lily pads, dragonflies, the worms dug up last summer and thrown from the dock to see fish rise in a boil—now all snapped raw in the frozen pond. And speaker, coded “you”—what about the light straining through her dampened hair, will you catch it in your jaws? There’s the smell of paper on her skin and you pressing her body like a flower in a book.

Another knock sounded at the door, this one louder. He strode across the room, and instinctively his hand slid to the knife sheathed at his rib cage. He cracked the door and peered into the hollow blackness of the hallway. Instantly the cold tip of a rifle rammed into his temple. “Where’s Lily, you worthless piece of pond scum?” Oren growled at him. “I haven’t seen her.” Connell shoved the rifle away and refrained from pulling out his knife. He wouldn’t. Not on Oren. “I thought she was going with you.” Oren lowered his gun and muttered several oaths under his mustache. “Isn’t she in her room?” Connell had been listening for the squeak of the floorboards, for the click of her door down the hall from his room. How had he missed the sounds? Oren muttered again. Cold fear jabbed into him like the sharp end of a pike pole. “She didn’t start off to Merryville on her own, did she?” “That’s what I’m afraid of.” Oren’s voice wavered, all bluster suddenly gone. Connell’s fear exploded into near panic. Without stopping to think, he grabbed the blankets from his bed and rolled them into a tight bundle. “What time do you think she left?” he asked, stuffing the bundle into one of his bags and then cramming in a pair of socks, his ax, and anything else he could find in his hurry. “I’m guessing she had no intention of letting me drive her,” Oren said. “She’s too impatient.” “So she got a sizable head start?” Oren didn’t say anything. But his silence spoke volumes.

Most immigrants agree that at some point, we become permanent foreigners, belonging neither here nor there. Many tomes have been written trying to describe this feeling of floating between worlds but never fully landing. Artists, using every known medium from words to film to Popsicle sticks, have attempted to encapsulate the struggle of trying to hang on to the solid ground of our mother culture and realizing that we are merely in a pond balancing on a lily pad with a big kid about to belly-flop right in. If and when we fall into this pond, will we be singularly American or will we hyphenate? Can we hold on to anything or does our past just end up at the bottom of the pond, waiting to be discovered by future generations?

mouth. ‘Inside are your pond passes, a Pond Beyond brochure, a list of lily-pad rules and a map. Don’t lose them.’ Tangine was already reading through his pack. ‘RULE ONE: Don’t go out at night . . .’ he read out. ‘Well, that’s a silly rule.’ ‘What happens at night?’ asked Amelia curiously. Then she remembered what Freda had said about a toad-beast. Fortescue lowered his voice. ‘Ferocious Furgus skulks around the streets when the suns go

Well, I would leave the laundry out; it added a certain atmosphere of neglect, as did the lily pad pond overtaken by ivy, the roses choked with weeds. A few hydrangea blossoms hung brown and dry on the shrubs, rattling sadly in the breeze. It was well hidden, the splendor of what had been, and that was fine with me. I could still remember Gran's garden out back the way it used to be- goldfish in the pond; hydrangea blooms heavy and blue, the color of the sky; sunflowers bent down upon themselves.

That woman is one ducking stool short of a medieval pond.

MORNING POEM Every morning the world is created. Under the orange sticks of the sun the heaped ashes of the night turn into leaves again and fasten themselves to the high branches and the ponds appear like black cloth on which are painted islands of summer lilies. If it is your nature to be happy you will swim away along the soft trails for hours, your imagination alighting everywhere. And if your spirit carries within it the thorn that is heavier than lead--- if it's all you can do to keep on trudging--- there is still somewhere deep within you a beast shouting that the earth is exactly what it wanted--- each pond with its blazing lilies is a prayer heard and answered lavishly, every morning, whether or not you have ever dared to be happy, whether or not you have ever dared to pray.

At the Chinese restaurant, I stared out the window overlooking a tranquil garden with water features, ponds covered in lily pads, and koi fish. Amid the serenity and smell of dumplings, I struggled to breathe. It seemed the walls were closing in, and everyone was looking at me. Words danced around on the menu. I didn’t want the waiter near us. I wanted to shrink until I popped and disappeared.

If it is your nature to be happy you will swim away along the soft trails for hours, your imagination alighting everywhere. And if your spirit carries within it the thorn that is heavier than lead— if it's all you can do to keep on trudging— there is still somewhere deep within you a beast shouting that the earth is exactly what it wanted— each pond with its blazing lilies is a prayer heard and answered lavishly, every morning, whether or not you have ever dared to be happy, whether or not you have ever dared to pray.

we floated like water lilies on a pond, dreaming of a billion suns

briefly on the lips. ‘I do trust you. As I said before, it’s Garrick that concerns me.’ ‘It takes two to tango.’ She kissed his chin. ‘True.

One can see now how the idea of heaven takes hold of men's consciousness, how it gains ground even when all the props have been knocked from under it. There must be another world beside this swamp in which everything is dumped pell-mell. It's hard to imagine what it can be like, this heaven that men dream about. A frog's heaven, no doubt. Miasma, scum, pond lillies, stagnant water. Sit on a lily pad unmolested and croak all day. Something like that, I imagine.

The surface of the pond is motionless, sheet glass, as if the storm never happened, the water lilies shuttered in their circadian sleep. A stillness, the world bathed in a blush of watermelon-pink. On the steps of our cabin I spy a single iridescent feather. I pick it up. Twirl it in my fingers by its sharp bony stem

I walk toward one of our ponds; but what signifies the beauty of nature when men are base? We walk to lakes to see our serenity reflected in them; when we are not serene, we go not to them. Who can be serene in a country where both the rulers and the ruled are without principle? The remembrance of my country spoils my walk. My thoughts are murder to the State, and involuntarily go plotting against her. But it chanced the other day that I scented a white water-lily, and a season I had waited for had arrived. It is the emblem of purity. It bursts up so pure and fair to the eye, and so sweet to the scent, as if to show us what purity and sweetness reside in, and can be extracted from, the slime and muck of earth. I think I have plucked the first one that has opened for a mile. What confirmation of our hopes is in the fragrance of this flower! I shall not so soon despair of the world for it, notwithstanding slavery, and the cowardice and want of principle of Northern men. It suggests what kind of laws have prevailed longest and widest, and still prevail, and that the time may come when man's deeds will smell as sweet. Such is the odor which the plant emits. If Nature can compound this fragrance still annually, I shall believe her still young and full of vigor, her integrity and genius unimpaired, and that there is virtue even in man, too, who is fitted to perceive and love it.