Pond Nature Quotes

Man shouldn’t be able to see his own face--there’s nothing more sinister. Nature gave him the gift of not being able to see it, and of not being able to stare into his own eyes. Only in the water of rivers and ponds could he look at his face. And the very posture he had to assume was symbolic. He had to bend over, stoop down, to commit the ignominy of beholding himself. The inventor of the mirror poisoned the human heart.

Landscapes of great wonder and beauty lie under our feet and all around us. They are discovered in tunnels in the ground, the heart of flowers, the hollows of trees, fresh-water ponds, seaweed jungles between tides, and even drops of water. Life in these hidden worlds is more startling in reality than anything we can imagine. How could this earth of ours, which is only a speck in the heavens, have so much variety of life, so many curious and exciting creatures?

How heron comes It is a negligence of the mind not to notice how at dusk heron comes to the pond and stands there in his death robes, perfect servant of the system, hungry, his eyes full of attention, his wings pure light

At Blackwater Pond At Blackwater Pond the tossed waters have settled after a night of rain. I dip my cupped hands. I drink a long time. It tastes like stone, leaves, fire. It falls cold into my body, waking the bones. I hear them deep inside me, whispering oh what is that beautiful thing that just happened?

Among our Potawatomi people, women are the Keepers of Water. We carry the sacred water to ceremonies and act on its behalf. “Women have a natural bond with water, because we are both life bearers,” my sister said. “We carry our babies in internal ponds and they come forth into the world on a wave of water. It is our responsibility to safeguard the water for all our relations.

There are some delightful places in this world which have a sensual charm for the eyes. One loves them with a physical love. We people who are attracted by the countryside cherish fond memories of certain springs, certain woods, certain ponds, certain hills, which have become familiar sights and can touch our hearts like happy events. Sometimes indeed the memory goes back towards a forest glade, or a spot on a river bank or an orchard in blossom, glimpsed only once on a happy day, but preserved in our heart.

I think it is this that it is this that draws me to the pond on a night in April, bearing witness to puhpowee. Tadpoles and spores, egg and sperm, mind and yours, mosses and peepers - we are all connected by our common understanding of the calls filling the night at the start of spring. It is the wordless voice of longing that resonates within us, the longing to continue, to participate in the sacred life of the world.

I do not view suicide as wicked, just terribly sad. There is only one death, but it is like a stone cast into a pond - the ripples stretch far. Such an act must leave a burden of sorrow, guilt, shame and confusion on an entire family. A natural death, such as my father suffered, is hard enough to deal with. A decision to end one's life must be still more devastating for those left behind. I cannot imagine the degree of hopelessness someone must feel to contemplate such an act.

Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.

I hurried out to the pond to catch polywogs in a jar. I leaned on my elbow and looked up close at the little frogs that climbed up on the sun-baked rocks. "Caw, caw!" A huge black crow circled above me in the air and landed on a rock nearby. We looked at each other in silence. "Crow, are you a boy or a girl?" "Caw, caw!" I laughed and rolled over on my back. The sky was crayon blue. I pretended I was lying on the white cotton clouds. The earth was damp against my back. The sun was hot, the breeze was cool. I felt happy. Nature held me close and seemed to find no fault with me.

I think people who don't know the woods very well sometimes imagine it as a kind of undifferentiated mass of greenery, an endless continuation of the wall of trees they see lining the road. And I think they wonder how it could hold anyone's interest for very long, being all so much the same. But in truth I have a list of a hundred places in my own town I haven't been yet. Quaking bogs to walk on; ponds I've never seen in the fall (I've seen them in the summer - but that's a different pond). That list gets longer every year, the more I learn, and doubtless it will grow until the day I die. So many glades; so little time.

Anytime that is ‘betwixt and between’ or transitional is the faeries’ favorite time. They inhabit transitional spaces: the bottom of the garden, existing in a space between manmade cultivation and wilderness. Look for them in the space between nurture and nature, they are to be found at all boarders and boundaries, or on the edges of water where it is neither land nor lake, neither path nor pond. They come when we are half-asleep. They come at moments when we least expect them; when our rational mind balances with the fluid irrational.

The stars are the apexes of what wonderful triangles! What distant and different beings in the various mansions of the universe are contemplating the same one at the same moment! Nature and human life are as various as our several constitutions. Who shall say what prospect life offers to another? Could a greater miracle take place than for us to look through each other's eyes for an instant?

On the first day of November last year, sacred to many religious calendars but especially the Celtic, I went for a walk among bare oaks and birch. Nothing much was going on. Scarlet sumac had passed and the bees were dead. The pond had slicked overnight into that shiny and deceptive glaze of delusion, first ice. It made me remember sakes and conjure a vision of myself skimming backward on one foot, the other extended; the arms become wings. Minnesota girls know that this is not a difficult maneuver if one's limber and practices even a little after school before the boys claim the rink for hockey. I think I can still do it - one thinks many foolish things when November's bright sun skips over the entrancing first freeze. A flock of sparrows reels through the air looking more like a flying net than seventy conscious birds, a black veil thrown on the wind. When one sparrow dodges, the whole net swerves, dips: one mind. Am I part of anything like that? Maybe not. The last few years of my life have been characterized by stripping away, one by one, loves and communities that sustain the soul. A young colleague, new to my English department, recently asked me who I hang around with at school. "Nobody," I had to say, feeling briefly ashamed. This solitude is one of the surprises of middle age, especially if one's youth has been rich in love and friendship and children. If you do your job right, children leave home; few communities can stand an individual's most pitiful, amateur truth telling. So the soul must stand in her own meager feathers and learn to fly - or simply take hopeful jumps into the wind. In the Christian calendar, November 1 is the Feast of All Saints, a day honoring not only those who are known and recognized as enlightened souls, but more especially the unknowns, saints who walk beside us unrecognized down the millennia. In Buddhism, we honor the bodhisattvas - saints - who refuse enlightenment and return willingly to the wheel of karma to help other beings. Similarly, in Judaism, anonymous holy men pray the world from its well-merited destruction. We never know who is walking beside us, who is our spiritual teacher. That one - who annoys you so - pretends for a day that he's the one, your personal Obi Wan Kenobi. The first of November is a splendid, subversive holiday. Imagine a hectic procession of revelers - the half-mad bag lady; a mumbling, scarred janitor whose ravaged face made the children turn away; the austere, unsmiling mother superior who seemed with great focus and clarity to do harm; a haunted music teacher, survivor of Auschwitz. I bring them before my mind's eye, these old firends of my soul, awakening to dance their day. Crazy saints; but who knows what was home in the heart? This is the feast of those who tried to take the path, so clumsily that no one knew or notice, the feast, indeed, of most of us. It's an ugly woods, I was saying to myself, padding along a trail where other walkers had broken ground before me. And then I found an extraordinary bouquet. Someone had bound an offering of dry seed pods, yew, lyme grass, red berries, and brown fern and laid it on the path: "nothing special," as Buddhists say, meaning "everything." Gathered to formality, each dry stalk proclaimed a slant, an attitude, infinite shades of neutral. All contemplative acts, silences, poems, honor the world this way. Brought together by the eye of love, a milkweed pod, a twig, allow us to see how things have been all along. A feast of being.

[Adapted and condensed Valedictorian speech:] I'm going to ask that you seriously consider modeling your life, not in the manner of the Dalai Lama or Jesus - though I'm sure they're helpful - but something a bit more hands-on, Carassius auratus auratus, commonly known as the domestic goldfish. People make fun of the goldfish. People don't think twice about swallowing it. Jonas Ornata III, Princeton class of '42, appears in the Guinness Book of World Records for swallowing the greatest number of goldfish in a fifteen-minute interval, a cruel total of thirty-nine. In his defense, though, I don't think Jonas understood the glory of the goldfish, that they have magnificent lessons to teach us. If you live like a goldfish, you can survive the harshest, most thwarting of circumstances. You can live through hardships that make your cohorts - the guppy, the neon tetra - go belly-up at the first sign of trouble. There was an infamous incident described in a journal published by the Goldfish Society of America - a sadistic five-year-old girl threw hers to the carpet, stepped on it, not once but twice - luckily she'd done it on a shag carpet and thus her heel didn't quite come down fully on the fish. After thirty harrowing seconds she tossed it back into its tank. It went on to live another forty-seven years. They can live in ice-covered ponds in the dead of winter. Bowls that haven't seen soap in a year. And they don't die from neglect, not immediately. They hold on for three, sometimes four months if they're abandoned. If you live like a goldfish, you adapt, not across hundreds of thousands of years like most species, having to go through the red tape of natural selection, but within mere months, weeks even. You give them a little tank? They give you a little body. Big tank? Big body. Indoor. Outdoor. Fish tanks, bowls. Cloudy water, clear water. Social or alone. The most incredible thing about goldfish, however, is their memory. Everyone pities them for only remembering their last three seconds, but in fact, to be so forcibly tied to the present - it's a gift. They are free. No moping over missteps, slip-ups, faux pas or disturbing childhoods. No inner demons. Their closets are light filled and skeleton free. And what could be more exhilarating than seeing the world for the very first time, in all of its beauty, almost thirty thousand times a day? How glorious to know that your Golden Age wasn't forty years ago when you still had all you hair, but only three seconds ago, and thus, very possibly it's still going on, this very moment." I counted three Mississippis in my head, though I might have rushed it, being nervous. "And this moment, too." Another three seconds. "And this moment, too." Another. "And this moment, too.

A storm came chasing the sky away. And virgin sands Drank all the water of the evening woods, God's wind blew icicles into the ponds; As I wept I saw gold,- and could not drink. - Delirium II - Alchemy of the Word

Many of us ordinary folk have tasted these moments of "union" - on the ladder, in the pond, in the jungle, on the hospital bed. In the yogic view, it is in these moments that we know who we really are. We rest in our true nature and know beyond a doubt that everything is OK, and not just OK, but unutterably well. We know that there is nothing to accept and nothing to reject. Life just is as it is.

The density of the butterflies in the air now gave her a sense of being underwater, plunged into a deep pond among bright fishes.

Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognizable deed.

A sprawling North London parkland, composed of oaks, willows and chestnuts, yews and sycamores, the beech and the birch; that encompasses the city’s highest point and spreads far beyond it; that is so well planted it feels unplanned; that is not the country but is no more a garden than Yellowstone; that has a shade of green for every possible felicitation of light; that paints itself in russets and ambers in autumn, canary-yellow in the splashy spring; with tickling bush grass to hide teenage lovers and joint smokers, broad oaks for brave men to kiss against, mown meadows for summer ball games, hills for kites, ponds for hippies, an icy lido for old men with strong constitutions, mean llamas for mean children and, for the tourists, a country house, its façade painted white enough for any Hollywood close-up, complete with a tea room, although anything you buy there should be eaten outside with the grass beneath your toes, sitting under the magnolia tree, letting the white blossoms, blush-pink at their tips, fall all around you. Hampstead Heath! Glory of London! Where Keats walked and Jarman fucked, where Orwell exercised his weakened lungs and Constable never failed to find something holy.

Over the drop, a luminous pond lay below them like a pale magic lantern. It was as if the moon had plummeted into the water and smashed open. Engulfed in darkness, with only a scatter of stars above, the place felt like a bright secret – something ancient and precious.

Among our Potawatomi people, women are the Keepers of Water. We carry the sacred water to ceremonies and act on its behalf. “Women have a natural bond with water, because we are both life bearers,” my sister said. “We carry our babies in internal ponds and they come forth into the world on a wave of water. It is our responsibility to safeguard the water for all our relations.” Being a good mother includes the caretaking of water.

One day, the lotus spoke again. "You remember me? The flower that grows through the mud?" I did. I said as much. "Have you ever considered my significance? I'm everywhere - art, religion, nature.... Have you ever wondered why?" ... It spoke, "Nothing touches me. I radiate beauty. You can do the same." "How?" I asked. "Easy," it said. "I grow in a pond. I take the water and nutrients I need to grow, and let the rest sink to the bottom. What's in mud, anyway? Water, nutrients, life and a little bit of sludge. Let the sludge go like I do. Then stand tall above the leaves.

He descended and came to a small basin of sea enclosed by the cliffs. Troy's nature freshened within him; he thought he would rest and bathe here before going farther. He undressed and plunged in. Inside the cove the water was uninteresting to a swimmer, being smooth as a pond, and to get a little of the ocean swell, Troy presently swam between the two projecting spurs of rock which formed the pillars of Hercules to this miniature Mediterranean. Unfortunately for Troy a current unknown to him existed outside, which, unimportant to craft of any burden, was awkward for a swimmer who might be taken in it unawares. Troy found himself carried to the left and then round in a swoop out to sea.

Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree. When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms. Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.

All those nutrients field the growth of more new plants, in an accelerating cycle. This is the way for many ponds–the bottom gradually fills in until the pond becomes a marsh and maybe someday a meadow and then a forest. Ponds grow old, and though I will too, I like the ecological idea of aging as progressive enrichment, rather than progressive loss.

That is the nature of time. It flows faster when it was younger and the course is narrower: at the end of all things time has spread and slowed, lik oil spilled on a still pond.

I am no more lonely than the loon in the pond that laughs so loud, or than Walden Pond itself.

What are these pines & these birds about? What is this pond a-doing? I must know a little more.

All amphibians are tethered to the pond by their evolutionary history, the most primitive vertebrates to make the transition from the aquatic life of their ancestors to life on land.

... one turns away to ponder the question: Who has made the decision that sets in motion these chains of poisonings, this ever-widening wave of death that spreads out, like ripples when a pebble is dropped into a still pond? Who has placed in one pan of the scales the leaves that might have been eaten by the beetles and in the other the pitiful heaps of many-hued feathers, the lifeless remains of birds that fell before the unselective bludgeon of insecticidal poisons? Who has decided -- who has the right to decide -- for the countless legions of people who were not consulted that the supreme value is a world without insects, even though it be also a sterile world ungraced by the curving wing of a bird in flight? The decision is that of the authoritarian temporarily entrusted with power; he has made it during a moment of inattention by millions to whom beauty and the ordered world of nature still have a meaning that is deep and imperative.

When an animal dies, another of the same species may cling to the body, eat the body, or look bored. Bees expel dead bodies from the hive or, if that is impossible, embalm them in honey. Elephants "say" a ritualistic good-bye, and touch their dead before slowly walking away. Corvids often accept the death of a companion without much fuss, but they at times have “funerals,” where scores of birds lament over the corpse of a deceased crow. But it is a bit odd that people should investigate whether animals “comprehend death,” as if human beings understood what it means to die. Is death a prelude to reincarnation? A portal to Heaven or Hell? Complete extinction? Union with all life? Or something else? All of these views can at times be comforting, yet people usually fear death, quite regardless of what they claim to believe. In the natural world, killing seems a casual affair. Human beings, of course, kill on a massive scale, but most of us can only kill, if at all, by softening the impact of the deed through rituals such as drink or prayer. The strike of a spider, a heron, or a cat is swift and, seemingly, without inhibition or remorse. They pounce with a confidence that could indicate ignorance, indifference, or else profound knowledge. Could this be, perhaps, because animals cannot conceive of killing, since they are not aware of death? Could it be because they understand death well, far better than do human beings? If animals envision the world not in terms of abstract concepts but sensuous images, the soul might appear as a unique scent, a rhythmic motion, or a tone of voice. Death would be the absence of these, though without that absolute finality that we find so severe. Perhaps the heron that snaps a fish thinks his meal lives on, as he one day will, in the form of currents in the pond.

A Blackberry Winter by Stewart Stafford Pond ice beneath the hawthorn tree, Reeds grasping from the frigid sculpture, Freezing fog clinging to land and foliage, Nature hindered but still in amelioration. Horses in crunching frosted footsteps march, To break the water trough's thick glaze, And drink thirstily in raw, jagged gulps, Until the thaw smoothes itself upon milder days. A swan slips and skates on the icicled river, Hoarfrost-encrusted rocks a guard of honour, The Anatidae ascension, maladroit but effective, Sure to pluck better days from its plumed reign. © Stewart Stafford, 2022. All rights reserved.

Virtually every natural feature in Maine, pond to peak, has a proper name, but Knight saw such titles as human impositions and preferred not to know them. He sought a purity to his retreat beyond all measure.

We would have known nothing of the nature and reach of her sorrow if she had come back. But she left us and broke the family and the sorrow was released and we saw its wings and saw it fly a thousand ways into the hills, and sometimes I think sorrow is a predatory thing because birds scream at dawn with a marvelous terror, and there is, as I have said before, a deathly bitterness in the smell of ponds and ditches. When we were children and frightened of the dark, my grandmother used to say if we kept our eyes closed we would not see it. That was when I noticed the correspondence between the space within the circle of my skull and the space around me. I saw just the same figure against the lid of my eye or the wall of my room, or in the trees beyond my window. Even the illusion of perimeters fails when families are separated.

One last mystery: on one of the little ponds, this morning, I saw wind riffling the first of the waterlily leaves. They haven’t all emerged yet, but new circles tattoo the water, here and there, a coppery red. When the wind lifted their edges, each would reveal a little shadowy spot, a dot of black which seemed to flash on the water, and so across the whole surface of the pond there was what could only be described as the inverse of sparkling; a scintillant blackness. Shining blackly, black but rippling, lyrical: the sheen and radiance of death-in-life. Is that my work, to point to the world and say, See how darkly it sparkles?

A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning.

The moon garden of the mansion was famous, having been designed with night-blooming flowers lining the pathways and hillocks of the landscape. They stepped through open doors, went down the wide stone steps, and were greeted by the heady perfume of late-blooming autumn flowers. The pale blossoms were lit from below, setting a mood of mystery. A fountain of natural stone rose up out of a pond surrounded by terra-cotta sculptures.

Life is a circle, not a line. Circles describe nature from a bird’s nest to raindrops striking a pond. I’d like my life to be round, like that. I’d like my life to be natural.” ~ Steve Ramirez, from The Things That Matter

And I mean, if there is a God it's probably a good idea to believe in him. But if there isn't a God, then we're just an accident of nature, a virus, pond scum gone berserk, and it won't matter one way or another if I believe or not because who cares? And so if it doesn't matter, then I choose to believe. There's something mindful about it, about the universe having a heart, us being watched over, maybe life and everything meaning something.

If he had the earth for his pasture and the sea for his pond, he would be a pauper still. He only is rich who owns the day. There is no king, rich man, fairy or demon who possesses such power as that. Mentioned in Sixty Days and Counting, by Kim Stanley Robinson

As humans, our territory is on land. If we were meant to control the skies, we would have been given wings, and if we were meant to control the seas and oceans, we would have been designed to breathe underwater. The Creator created for us many natural water sources: lakes, ponds, rivers, springs, and streams — so that we would not tamper with the seas or oceans. This is why there is salt in the them, so we do not drink from them, or bother the huge creatures he put there to control the food chain. The salt content found in huge bodies of water is extremely vital to the elevation and balancing of the earth. This can be explained through basic physics or metaphysics. At the same time, wild creatures were also placed in jungles and forests to keep humans out of them. Plants are vital to purifying the atmosphere, and many wild animals rely on them as their food and medicine. Had the Creator not placed animals like tigers, wolves, bears, and other big creatures in untamed regions which are intended to remain inhabited, he knew that mankind would take over those areas — leaving nothing for the animals.

Rising demand for oil exposed Europe, and later America, to oil shocks - serious interruptions in supply. Like a pebble tossed into a pond, an oil shock creats ripples, or effects, felt everywhere. Oil shocks have two causes. The first is natural, because existing oil fields may not yield enough to satisfy demand. Scarcity results in higher prices for oil products, reducing our standard of living. Natural scarcity was not a problem in the world's major producing areas until recently. The second cause of oil shocks is political. Political shocks happen when governments of oil-producing countries reduce or halt supply to gain the upper hand in dealings with other governments. This is the case in the Middle East, where oil has often mixed with politics, religion, and blood. The reasons for this have shaped the history of recent times.

With this Humboldt brought together the external physical world with the internal world of the mind. Humboldt’s Cosmos was about the relationship between humankind and nature, and Thoreau placed himself firmly into this cosmos. At Walden Pond, he wrote, ‘I have a little world all to myself’ – his own sun, stars and moon. ‘Why should I feel lonely?’ he asked. ‘Is not our planet in the Milky Way?’ He was no more lonely than a flower or bumblebee in a meadow because like them he was part of nature. ‘Am I not partly leaves and vegetable mould myself?’ he asked in Walden.

We must nurture the lotus of knowledge, not play in the pond with it, and rip it apart like children. We must mature and discuss correctly what we mean by faith, by its definition and by its scientific and poetic effect on the human heart and psychology and the total nature of our humanity.

Who has made the decision that sets in motion these chains of poisonings, this ever-widening wave of death that spreads out, like ripples when a pebble is dropped into a still pond? Who has placed in one pan of the scales the leaves that might have been eaten by the beetles and in the other the pitiful heaps of many-hued feathers, the lifeless remains of the birds that fell before the unselective bludgeon of insecticidal poisons? Who has decided - who has the right to decide - for the countless legions of people who were not consulted that the supreme value is a world without insects, even though it be also a sterile world ungraced by the curving wing of a bird in flight? The decision is that of the authoritarian temporarily entrusted with power; he has made it during a moment of inattention by millions to whom beauty and the ordered world of nature still have a meaning that is deep and imperative.

Few things in nature can compare to the long, mournful wail of a loon echoing across water and through the forest. It’s an evocative sound that will stick with you for the rest of your life and make you nostalgic for things that never even happened to you. Eerie, yet beautiful, the sound will conjure up images of solitude near mountain lakes and ponds, shrouded in fog during the early morning or late dusk, surrounded by the silhouettes of pine trees. It’s a sound that relaxes and submerges you into the tranquility of nature. I don’t think there is another sound in the world that reminds me of the wilderness more so than the wail of a loon.

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

The hawk turned slowly and flexed his great wings to maintain his height. In this cold wind, he flew merely to see and to travel. Gone was the exhilaration of fast-rising summer air carrying him so high into the sky's blue vacuum that the pond became a silver speck and the great southern lake dazzled him with a glaring slash of reflected sun.

On account of my radical immaturity—characterised by a persistent lack of ambition—real events don’t make much difference to me, as such the impact they have upon my mind is either zilch or blistering, and so, naturally, I have to question my facility to form memories that have any congruity at all with what in fact took place—landmark events and so on included.

If we need space to live, we take it -- all of it -- and if that means filling in a ...pond or cutting down a woodlot, then so be it. We feel completely justified in sending the plants and animals that depend on those habitats off to make do someplace else. This is partly because...until recently, there has always been someplace else for nature to thrive. But no longer.

But now, while we have loitered, the clouds have gathered again, and a few straggling snowflakes are beginning to descend. Faster and faster they fall, shutting out the distant objects from sight. The snow falls on every wood and field, and no crevice is forgotten; by the river and the pond, on the hill and in the valley. Quadrupeds are confined to their coverts and the birds sit upon their perches this peaceful hour. There is not so much sound as in fair weather, but silently and gradually every slope, and the gray walls and fences, and the polished ice, and the sere leaves, which were not buried before, are concealed, and the tracks of men and beasts are lost. With so little effort does nature reassert her rule and blot out the traces of men. — A Winter Walk

Last night the geese came back, slating fast from the blossom of the rising moon down to the black pond. A muskrat swimming in the twilight saw them and hurried to the secret lodges to tell everyone spring had come. And so it had. By morning when I went out the last of the ice had disappeared, blackbirds sang on the shores. Every year the geese, returning, do this, I don't know how.

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.

Well then, he said. What are you doing here? I am not sure. Liberty I suppose. I lived so long under constraints. You wonder why I grub about in the mud - it's what I remember from childhood. Barely ever wearing shoes - picking gorse for cordial, watching the ponds boiling with frogs. And then there was Michael, and he was - civilised. He would pave over every bit of woodland, have every sparrow mounted on a plinth. And he had me mounted on a plinth. My waist pinched, my hair burned into curls, the colour on my face painted out, then painted in again. And now I'm free to sink back into the earth if I like - to let myself grow over with moss and lichen. Perhaps you're appalled to think we are no higher than the animals, or at least, if we are, only one rung further up the ladder. But no, no - it has given me liberty. No other animal abides by rules - why then must we?

All the little Indians in a half circle around Aunt Emily are getting an imprinting that will last for life. The sound of her voice reading will condition how they look upon themselves and the world. It will become part of the loved ambience of Battell Pond, a glint in the chromatic wonder of childhood. These small sensibilities will never lose the images of dark woods and bright lake. Nature to them will always be beneficent and female.

...when we "lose our mind" and "come to our senses" in the fullest possible way, the chattering, texting, e-mailing, twittering mind will eventually quiet down and almost silence itself. This is a sacred and connected silence...It's like a deep, still pond reflecting the stars of the night sky. I believe this is the baseline for human consciousness, and I'm convinced that the birds are the best mentors in the natural world for bringing us to it.

We Let the Boat Drift I set out for the pond, crossing the ravine where seedling pines start up like sparks between the disused rails of the Boston and Maine. The grass in the field would make a second crop if early autumn rains hadn't washed the goodness out. After the night's hard frost it makes a brittle rustling as I walk. The water is utterly still. Here and there a black twig sticks up. It's five years today, and even now I can't accept what cancer did to him -- not death so much as the annihilation of the whole man, sense by sense, thought by thought, hope by hope. Once we talked about the life to come. I took the Bible from the nightstand and offered John 14: "I go to prepare a place for you.""Fine. Good," he said. "But what about Matthew? 'You, therefore, must be perfect, as your heavenly Father is perfect.'" And he wept. My neighbor honks and waves driving by. She counsels troubled students; keeps bees; her goats follow her to the mailbox. Last Sunday afternoon we went canoeing on the pond. Something terrible at school had shaken her. We talked quietly far from shore. The paddles rested across our laps; glittering drops fell randomly from their tips. The light around us seemed alive. A loon-itinerant- let us get quite close before it dove, coming up after a long time, and well away from humankind

I remember when we found the first population of living Cerion agassizi in central Eleuthera. Our hypothesis of Cerion's general pattern required that two predictions be affirmed (or else we were in trouble): this population must disappear by hybridization with mottled shells toward bank-interior coasts and with ribby snails toward the bank-edge. We hiked west toward the bank-interior and easily found hybrids right on the verge of the airport road. We then moved east toward the bank-edge along a disused road with vegetation rising to five feet in the center between the tire paths. We should have found our hybrids but we did not. The Cerion agassizi simply stopped about two hundred yards north of our first ribby Cerion. Then we realized that a pond lay just to our east and that ribby forms, with their coastal preferences, might not favor the western side of the pond. We forded the pond and found a classic hybrid zone between Cerion agassizi and ribby Cerions. (Ribby Cerion had just managed to round the south end of the pond, but had not moved sufficiently north along the west side to establish contact with C. agassizi populations.) I wanted to shout for joy. Then I thought, "But who can I tell; who cares?" And I answered myself, "I don't have to tell anyone. We have just seen and understood something that no one has ever seen and understood before. What more does a man need?

Kauffman was in awe when he realized all this. Here it was again: order. Order for free. Order arising naturally from the laws of physics and chemistry. Order emerging spontaneously from molecular chaos and manifesting itself as a system that grows. The idea was indescribably beautiful. But was it life? Well no, Kauffman had to admit, not if you meant life as we know it today. An autocatalytic set would have had no DNA, no genetic code, no cell membrane. In fact, it would have had no real independent existence except as a haze of molecules floating around in some ancient pond. If an extraterrestrial Darwin had happened by at the time, he (or it) would have been hard put to notice anything unusual. Any given molecule participating in the autocatalytic set would have looked pretty much like any other molecule. The essence was not to be found in any individual piece of the set, but in the overall dynamics of the set: its collective behavior.

Accidentals Something out of place, seen where it doesn’t belong. A surprise on the water like Tundra Swans unexpected and flung far from the Arctic onto a Vermont pond. Me, driving home, seeing all that white with sinewy S-shaped necks out of the corner of my eye. Blessed is an ordinary Wednesday, now etched forever in memory as that Wednesday I went home another way and found myself far flung from work, from home, from whoever I was before black beaks beckoned me while four pairs of wings unfolded.

The Worst Man in Australia Australians love The Simpsons, except, naturally, the episode where the family goes there. That episode was condemned in the Australian parliament, which is a Hooters, by the way. They didn’t object to us saying the Australian penal system involved kicking offenders with a giant boot, or that their prime minister’s office was an inner tube in a pond. Nope. What they didn’t like was our cast’s attempt at doing an Australian accent. Mind you, the true Australian accent is semi-incomprehensible

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.

Nancy grabbed Plum's hand and together they ran around the last curve and then they were leaning against the old stone wall that marked Lookout Hill. Far, far down below them, a river was trying to wriggle its way out of a steep canyon. Over to the right, thick green hills crowded close to each other to share one filmy white cloud. To the left, as far as they could see the land flowed into valleys that shaded from a pale watery green, through lime, emerald, jade, leaf, forest to a dark, dark, bluish-green, almost black. The rivers were like inky lines, the ponds like ink blots.

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! .

The Ryland website showed a few nominal photos of students in goggles doing something with a torch in a laboratory, or squinting over a whiteboard jammed with calculations, but the rest of the photos were social, cornball: an afternoon of ice skating on a frozen pond, a classic “three in a tree” shot of students chatting beneath a spreading oak. In fact, the campus only had one such tree, which had been over-photographed into exhaustion. In daylight, students straggled to class along the paths of the inelegant campus, occasionally even wearing pajamas, like the members of a good-natured bear family in a children’s book

He said that death marks places like a dog marking its territory. Some people can sense it right away, while others simply start to feel uncomfortable after a time. Every stay in any place betrays the quiet ubiquitousness of the dead. As he said: ‘At first you always see what’s alive and vibrant. You’re delighted by nature, by the local church painted in different colours, by the smells and all that. But the longer you’re in a place, the more the charm of those things fades. You wonder who lived here before you came to this home and this room, whose things these are, who scratched the wall above the bed and what tree the sills were cut from. Whose hands built the elaborately decorated fireplace, paved the courtyard? And where are they now? In what form? Whose idea led to these paths around the pond and who had the idea of planting a willow out the window? All the houses, avenues, parks, gardens and streets are permeated with the deaths of others. Once you start feeling this, something starts to pull you elsewhere, you start to think it’s time to move on.’ He added that when we are in motion, there’s no time for such idle meditations. Which is why to people on trips everything seems new and clean, virginal, and, in some sense, immortal.

Salinas was surrounded and penetrated with swamps, with tule-filled ponds, and every pond spawned thousands of frogs. With the evening the air was so full of their song that it was a kind of roaring silence. It was a veil, a background, and its sudden disappearance, as after a clap of thunder, was a shocking thing. It is possible that if in the night the frog sound should have stopped, everyone in Salinas would have awakened, feeling that there was a great noise. In their millions the frog songs seemed to have a beat and a cadence, and perhaps it is the ears' function to do this just as it is the eyes' business to make stars twinkle.

Those people who shoot endless time-lapse films of unfurling roses and tulips have the wrong idea. They should train their cameras instead on the melting of pack ice, the green filling of ponds, the tidal swings…They should film the glaciers of Greenland, some of which creak along at such a fast clip that even the dogs bark at them. They should film the invasion of the southernmost Canadian tundra by the northernmost spruce-fir forest, which is happening right now at the rate of a mile every 10 years. When the last ice sheet receded from the North American continent, the earth rebounded 10 feet. Wouldn’t that have been a sight to see?

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 idea of a story as an ongoing communication between minds arises naturally from the activity of one person telling a story to another. This model applies to these Russian stories we're reading, and would have applied the first time some cavepeople gathered around a fire for the first literary reading, and if that early storyteller ignored this notion of story as ongoing communication between performer and audience, he would have found, as today, that some of his audience was dozing off or sneaking out of the cave early, in that crouching posture people adopt when sneaking out of a literary event, as if crouching like that will make them invisible to the author, which believe me, it doesn't.

There was a Chinese belief that demons liked to travel only in straight lines. Hence the bridge zigzagged no fewer than nine times as it made its way to the center of the pond. The bridge was a demon filter, in other words, and the teahouse demon-free, which seemed of only limited usefulness if it still hosted people like Dr. X. But for Judge Fang, raised in a city of long straight avenues, full of straight talkers, it was useful to be reminded that from the point of view of some people, including Dr. X, all of that straightness was suggestive of demonism; more natural and human was the ever-turning way, where you could never see round the next corner, and the overall plan could be understood only after lengthy meditation.

This had to happen. We forgot that we are not the only ones in this world, that the whole of creation does not revolve around us. Like stupid, fat, lazy minnows in a slimy pond we chose not to accept the existence of pike. We allowed our world, like the pond, to become slimy, boggy and sluggish. Look around you - there is crime and sin everywhere, greed, the pursuit of profit, quarrels and disagreements are rife. Our traditions are disappearing, respect for our values is fading. Instead of living according to Nature we have begun to destroy it. And what have we got for it? The air is poisoned by the stink of smelting furnaces, the rivers and brooks are tainted by slaughter houses and tanneries, forests are being cut down without a thought.

In fact, the more you look, the more connections you find between Canada geese and people. Our population has also increased dramatically in the past several decades—there were just over two billion people on Earth in 1935, when live goose decoys were made illegal in the U.S. In 2021, there are more than seven billion people. Like humans, Canada geese usually mate for life, although sometimes unhappily. Like us, the success of their species has affected their habitats: A single Canada goose can produce up to one hundred pounds of excrement per year, which has led to unsafe E. coli levels in lakes and ponds where they gather. And like us, geese have few natural predators. If they die by violence, it is almost always human violence. Just like us.

Another rain-swept day leaves everything water-logged—ponds, drains, streets, and rivers—everywhere water is overflowing. The green blades of grass in the garden lie submerged under a rippling shallow sheet of water. Through refraction, they take on magical underwater seaweed shapes. Except here, the grass is evenly cropped, so it appears as a glazed woven mat of wet-green. Rain has also left the plants and trees gleaming, bursting in plentitude. Natural irrigation in excess creates its own slow rot, a sublime slime of wet decay and birth, profusion and irresistibility. Rain has this special seductive appeal—its innocuous wet, its piercing strength, its gentle drizzle-caresses, its ability to douse and arouse. The entire charm lies in its simplicity.

The gravel path ahead is covered in leathery beech leaves, and they squelch or crunch depending on whether the water is running of the Sitka bank. The leaf litter suddenly changes to sweet chestnut. I touch the furrowed bark of one tree, my fingers settling in the grooves. We pause by a pond, still as glass until gentle ripples are set off by fish below the surface. The water is earth-brown and surrounded by widely spaced conifers and some goat willows iwth low-lying, outstretched branches almost touching the water. Suddenly, there are cones raining down. We stop to look up, spotting an auburn shape tousling the branches of a Sitka tree. We crane our heads until the cold seeps in. The movement stops and the red squirrel just seems to vanish into thin air.

Mohini was a regal white tiger who lived for many years at the Washington, D.C. National Zoo. For most of those years her home was in the old lion house—a typical twelve-by-twelve-foot cage with iron bars and a cement floor. Mohini spent her days pacing restlessly back and forth in her cramped quarters. Eventually, biologists and staff worked together to create a natural habitat for her. Covering several acres, it had hills, trees, a pond and a variety of vegetation. With excitement and anticipation they released Mohini into her new and expansive environment. But it was too late. The tiger immediately sought refuge in a corner of the compound, where she lived for the remainder of her life. Mohini paced and paced in that corner until an area twelve by twelve feet was worn bare of grass.

Kessler depicts his developing intimacy with a handful of dairy goats and offers an enviable glimpse of the pastoral good life. Yet he also cautions, "Wherever the notion of paradise exists, so does the idea that it was lost. Paradise is always in the past." The title Goat Song is a literal rendering of the Greek word traghoudhia, tragedy. Reading it, I was reminded of Leo Marx's analysis of Thoreau's Walden. In The Machine in the Garden, Marx names Thoreau a tragic, if complex pastoralist. After failing to make an agrarian living raising beans for commercial trade (although his intent was always more allegorical than pecuniary), Thoreau ends Walden by replacing the pastoral idea where it originated: in literature. Paradise, Marx concludes, is not ultimately to be found at Walden Pond; it is to be found in the pages of Walden.

And yes, there was such a luster in his eyes that I had to look away, and when I looked back at him, his gaze hadn’t moved and was still focused on my face, as if to say, So you looked away and you’ve come back, will you be looking away again soon? —which was why I had to look away once more, as if immersed in thought, yet all the while scrambling for something to say, the way a fish struggles for water in a muddied pond that’s fast drying up in the heat. He must have known exactly what I was feeling. What made me blush in the end was not the natural embarrassment of the moment when I could tel he’d caught me trying to hold his gaze only then to let mine scamper to safety; what made me blush was the thrilling possibility, unbelievable as I wanted it to remain, that he might actual y like me, and that he liked me in just the way I liked him.

Without a high flux of carbon and energy that is physically channelled over inorganic catalysts, there is no possibility of evolving cells. I would rate this as a necessity anywhere in the universe: given the requirement for carbon chemistry that we discussed in the last chapter, thermodynamics dictates a continuous flow of carbon and energy over natural catalysts. Discounting special pleading, that rules out almost all environments that have been touted as possible settings for the origin of life: warm ponds (sadly Darwin was wrong on that), primordial soup, microporous pumice stones, beaches, panspermia, you name it. But it does not rule out hydrothermal vents; on the contrary, it rules them in. Hydrothermal vents are exactly the kind of dissipative structures that we seek – continuous flow, far-from-equilibrium electrochemical reactors. Hydrothermal

In the space of a single year, a crumbling rural village had sprouted an army town, like a great parasitical growth. The former peacetime aspect of the place was barely discernible. The village pond was where the dragoons watered their horses, infantry exercised in the orchards, soldiers lay in the meadows sunning themselves. All the peacetime institutions collapsed, only what was needed for war remained. Hedges and fences were broken or simply torn down for easier access, and everywhere there were large signs giving directions to military traffic. While roofs caved in, and furniture was gradually used up as firewood, telephone lines and electricity cables were installed. Cellars were extended outwards and downwards to make bomb shelters for the residents; the removed earth was dumped in the gardens. The village no longer knew any demarcations or distinctions between thine and mine. pp. 36-37

Preparing a Mirror for Magic It’s best to perform some type of short ritual before using any mirror for magical purposes. Since mirrors are ruled by the element of water, we’ll use water to purify them. The process is simple. Do this ritual at night. You’ll need a vessel of some kind that’s larger than the mirror (a bucket, a large bowl, a bathtub, even a pond, river, or the ocean). Dip the mirror into the water. As you do this, say: What was here . . . Lift the mirror from the water. Say: I wash away. Do this thirteen times, each time completely submersing the mirror, then completely removing it from the water. If the moon is visible in the sky, hold the mirror up to receive its rays for a few moments. Dry the mirror. Holding it in your hands, say these or similar words: You are now a tool of magic. Assist me in my rites! Next, wrap the mirror in blue or white cloth and store in some special place until you have need of it.

warm little pond” where Darwin supposed life began to the bubbling sea vents that are now the most popular candidates for life’s beginnings—but all this overlooks the fact that to turn monomers into polymers (which is to say, to begin to create proteins) involves what is known to biology as “dehydration linkages.” As one leading biology text puts it, with perhaps just a tiny hint of discomfort, “Researchers agree that such reactions would not have been energetically favorable in the primitive sea, or indeed in any aqueous medium, because of the mass action law.” It is a little like putting sugar in a glass of water and having it become a cube. It shouldn’t happen, but somehow in nature it does. The actual chemistry of all this is a little arcane for our purposes here, but it is enough to know that if you make monomers wet they don’t turn into polymers—except when creating life on Earth. How and why it happens then and not otherwise is one of biology’s great unanswered questions.

The only question that remained was what wavelike phenomenon the brain might be using to create such internal holograms. As soon as Pribram considered the question he thought of a possible answer. It was known that the electrical communications that take place between the brain's nerve cells, or neurons, do not occur alone. Neurons possess branches like little trees, and when an electrical message reaches the end of one of these branches it radiates outward as does the ripple in a pond. Because neurons are packed together so densely, these expanding ripples of electricity—also a wavelike phenomenon— are constantly crisscrossing one another. When Pribram remembered this he realized that they were most assuredly creating an almost endless and kaleidoscopic array of interference patterns, and these in turn might be what give the brain its holographic properties. "The hologram was there all the time in the wave-front nature of brain-cell connectivity, " observed Pribram. "We simply hadn't had the wit to realize it.

It is no honest and blunt tu-whit tu-whoo of the poets, but, without jesting, a most solemn graveyard ditty, the mutual consolations of suicide lovers remembering the pangs and the delights of supernal love in the infernal groves. Yet I love to hear their wailing, their doleful responses, trilled along the woodside; reminding me sometimes of music and singing birds; as if it were the dark and tearful side of music, the regrets and sighs that would fain be sung. They are the spirits, the low spirits and melancholy forebodings, of fallen souls that once in human shape night-walked the earth and did the deeds of darkness, now expiating their sins with their wailing hymns or threnodies in the scenery of their transgressions. They give me a new sense of the variety and capacity of that nature which is our common dwelling. Oh-o-o-o-o that I never had been bor-r-r-r-n! sighs one on this side of the pond, and circles with the restlessness of despair to some new perch on the gray oaks. Then—that I never had been bor-r-r-r-n! echoes another on the farther side with tremulous sincerity, and—bor-r-r-r-n! comes faintly from far in the Lincoln woods.

In our personal spaces, where there are no eyes to guide our better nature caressing our intentions, we sometimes gnaw in the agonizing realization that, although we charitably took on the rough task with smiling faces, our condescension has produced our worst nightmare. For a new work has triggered our insecure buttons, birthing the fear that the author may flow past our selfish desires, and find their way into the ocean of our faith, leaving us alone and desperate. And so we must, with the extremest prejudice, bomb their potential future by damming all of our congratulations. Rendering Goodreads a stale pond of green algae and used condoms. But do we not know that this same pond we all must drink from? Instead of filing another dead weight upon our self-deprecation, we should condescend to our own little devils, transforming them into loving companions with our guidance, so they may sprout wings in our charity, by praising this new work loudly to all of our friends and acquaintances. Instead of a dam, we can fashion a fountain of ascension, whose poetic mead, we may all get drunk on. Then, one day, those that we have assisted, we may one day find them returning us the favor by building us a fountain. That's my opinion on the subject anyway. This has been an exercise in poetic articulation. Signing off.

When other birds are still, the screech owls take up the strain, like mourning women their ancient u-lu-lu. Their dismal scream is truly Ben Jonsonian.( Wise midnight hags! It is no honest and blunt tu-whit tu-who of the poets, but, without jesting, a most solemn graveyard ditty, the mutual consolations of suicide lovers remembering the pangs and the delights of supernal love in the infernal groves. Yet I love to hear their wailing, their doleful responses, trilled along the woodside; reminding me sometimes of music and singing birds; as if it were the dark and tearful side of music, the regrets and sighs that would fain be sung. They are the spirits, the low spirits and melancholy forebodings, of fallen souls that once in human shape night-walked the earth and did the deeds of darkness, now expiating their sins with their wailing hymns or threnodies in the scenery of their transgressions. They give me a new sense of the variety and capacity of that nature which is our common dwelling. Oh-o-o-o-o that I never had been bor-r-r-r-n! sighs one on this side of the pond, and circles with the restlessness of despair to some new perch on the gray oaks. Then — that I never had been bor-r-r-r-n! echoes another on the farther side with tremulous sincerity, and — bor-r-r-r-n! comes faintly from far in the Lincoln woods. I was also serenaded by a hooting owl. Near at hand you could fancy it the most melancholy sound in Nature, as if she meant by this to stereotype and make permanent in her choir the dying moans of a human being — some poor weak relic of mortality who has left hope behind, and howls like an animal, yet with human sobs, on entering the dark valley, made more awful by a certain gurgling melodiousness — I find myself beginning with the letters gl when I try to imitate it — expressive of a mind which has reached the gelatinous, mildewy stage in the mortification of all healthy and courageous thought. It reminded me of ghouls and idiots and insane howlings. But now one answers from far woods in a strain made really melodious by distance — Hoo hoo hoo, hoorer hoo; and indeed for the most part it suggested only pleasing associations, whether heard by day or night, summer or winter. I rejoice that there are owls. Let them do the idiotic and maniacal hooting for men. It is a sound admirably suited to swamps and twilight woods which no day illustrates, suggesting a vast and undeveloped nature which men have not recognized. They represent the stark twilight and unsatisfied thoughts which all have. All day the sun has shone on the surface of some savage swamp, where the double spruce stands hung with usnea lichens, and small hawks circulate above, and the chickadee lisps amid the evergreens, and the partridge and rabbit skulk beneath; but now a more dismal and fitting day dawns, and a different race of creatures awakes to express the meaning of Nature there.

Spring was a long time unfolding. During the last weeks of Lent the weather was clear and frosty. In the daytime it thawed in the sun, but at night it went down to seven below; there was such a crust that carts could go over it where there was no road. There was still snow at Easter. Then suddenly, on Easter Monday, a warm wind began to blow, dark clouds gathered, and for three days and nights warm, heavy rain poured down. On Thursday the wind dropped, and a thick grey mist gathered, as if concealing the mysteries of the changes taking place in nature. Under the mist waters flowed, ice blocks cracked and moved off, the muddy, foaming streams ran quicker, and on the eve of Krasnaya Gorka the mist scattered, the dark clouds broke up into fleecy white ones, the sky cleared, and real spring unfolded. In the morning the bright sun rose and quickly ate up the thin ice covering the water, and the warm air was all atremble, filled with the vapours of the reviving earth. The old grass and the sprouting needles of new grass greened, the buds on the guelder-rose, the currants and the sticky, spiritous birches swelled, and on the willow, all sprinkled with golden catkins, the flitting, newly hatched bee buzzed. Invisible larks poured trills over the velvety green fields and the ice-covered stubble, the peewit wept over the hollows and marshes still filled with brown water; high up the cranes and geese flew with their spring honking. Cattle, patchy, moulted in all but a few places, lowed in the meadows, bow-legged lambs played around their bleating, shedding mothers, fleet-footed children ran over the drying paths covered with the prints of bare feet, the merry voices of women with their linen chattered by the pond, and from the yards came the knock of the peasants’ axes, repairing ploughs and harrows. The real spring had come.

Quote from "The Dish Keepers of Honest House" ....TO TWIST THE COLD is easy when its only water you want. Tapping of the toothbrush echoes into Ella's mind like footsteps clacking a cobbled street on a bitter, dry, cold morning. Her mind pushes through sleep her body craves. It catches her head falling into a warm, soft pillow. "Go back to bed," she tells herself. "You're still asleep," Ella mumbles, pushes the blanket off, and sits up. The urgency to move persuades her to keep routines. Water from the faucet runs through paste foam like a miniature waterfall. Ella rubs sleep-deprieved eyes, then the bridge of her nose and glances into the sink. Ella's eyes astutely fixate for one, brief millisecond. Water becomes the burgundy of soldiers exiting the drain. Her mouth drops in shock. The flow turns green. It is like the bubbling fungus of flockless, fishless, stagnating ponds. Within the iridescent glimmer of her thinking -- like a brain losing blood flow, Ella's focus is the flickering flashing of gray, white dust, coal-black shadows and crows lifting from the ground. A half minute or two trails off before her mind returns to reality. Ella grasps a toothbrush between thumb and index finger. She rests the outer palm against the sink's edge, breathes in and then exhales. Tension in the brow subsides, and her chest and shoulders drop; she sighs. Ella stares at pasty foam. It exits the drain as if in a race to clear the sink of negativity -- of all germs, slimy spit, the burgundy of imagined soldiers and oppressive plaque. GRASPING THE SILKY STRAND between her fingers, Ella tucks, pulls and slides the floss gently through her teeth. Her breath is an inch or so of the mirror. Inspections leave her demeanor more alert. Clouding steam of the image tugs her conscience. She gazes into silver glass. Bits of hair loosen from the bun piled at her head's posterior. What transforms is what she imagines. The mirror becomes a window. The window possesses her Soul and Spirit. These two become concerned -- much like they did when dishonest housekeepers disrupted Ella's world in another story. Before her is a glorious bird -- shining-dark-as-coal, shimmering in hues of purple-black and black-greens. It is likened unto The Raven in Edgar Allan Poe's most famous poem of 1845. Instead of interrupting a cold December night with tapping on a chamber door, it rests its claws in the decorative, carved handle of a backrest on a stiff dining chair. It projects an air of humor and concern. It moves its head to and fro while seeking a clearer understanding. Ella studies the bird. It is surrounded in lofty bends and stretches of leafless, acorn-less, nearly lifeless, oak trees. Like fingers and arms these branches reach below. [Perhaps they are reaching for us? Rest assured; if they had designs on us, I would be someplace else, writing about something more pleasant and less frightening. Of course, you would be asleep.] Balanced in the branches is a chair. It is from Ella's childhood home. The chair sways. Ella imagines modern-day pilgrims of a distant shore. Each step is as if Mother Nature will position them upright like dolls, blown from the stability of their plastic, flat, toe-less feet. These pilgrims take fate by the hand. LIFTING A TOWEL and patting her mouth and hands, Ella pulls the towel through the rack. She walks to the bedroom, sits and picks up the newspaper. Thumbing through pages that leave fingertips black, she reads headlines: "Former Dentist Guilty of Health Care Fraud." She flips the page, pinches the tip of her nose and brushes the edge of her chin -- smearing both with ink. In the middle fold directly affront her eyes is another headline: "Dentist Punished for Misconduct." She turns the page. There is yet another: "Dentist guilty of urinating in surgery sink and using contaminated dental instruments on patients." This world contains those who are simply insane! Every profession has those who stray from goals....

Last year I saw three migrating Canada geese flying low over the frozen duck pond where I stood. I heard a heart-stopping blast of speed before I saw them. They thundered across the pond, and back, and back again. I think of this now, and my brain vibrates to the blurred bastinado of feathered bone. “Our God shall come,” it says in a psalm for Advent, “and shall not keep silence; there shall go before him a consuming fire, and a mighty tempest shall be stirred up round about him.” It is the shock I remember. Not only does something come if you wait, but it pours over you like a waterfall, like a tidal wave. You wait in all naturalness without expectation or hope, emptied, translucent, and that which comes rocks and topples you; it will shear, loose, launch, winnow, grind. I have glutted on richness and welcome hyssop. This distant silver November sky, these sere branches of trees, shed, and bearing their pure and secret colors- this is the real world, not the world gilded and pearled. I stand under wiped skies directly, naked, without intercessors. Frost winds have lofted my body’s bones with all their restless sprints to an airborne raven’s glide. I am buoyed by a calm and effortless longing, an angled pitch of the will, like the set of the wings of the monarch which climbed a hill by falling still.

One does occasionally observe a tendency for the beginning zoological textbooks to take the unwary reader by a hop, skip, and jump from the little steaming pond or the beneficent chemical crucible of the sea, into the lower world of life with such sureness and rapidity that it is easy to assume that there is no mystery about this matter at all, or, if there is, that it is a very little one.

Two tadpoles at the bottom of a pond were one day discussing the problem of existence. One said to the other, “I think I will stick my head out to see if there is anything else in the world.” The other tadpole said, “Don’t be silly, do you think there is anything else in this world besides water?” So those who live the natural life ignore the beauty of the higher life of grace.

A clean pond is more useful than a dirty ocean.

image. It made masturbation mass murder. Pollen, which blew about in spring in quantities great enough to fur a pond in a coat of yellow, was an even larger, if less heart-wrenching, waste of life. While Nature was obviously prodigal of youth—in early eighteenth-century London, almost half the children died before their second birthday—this level of carnage was hard to accept.

The heron must be used to people, and yet it never lets you get too close. Draw parallel to it with the width of one of the marsh’s holding ponds between you, and it will duck its head, eyeing you with suspicion, then fly. I cannot approach the heron, certainly could never touch it; I can only look for it, entranced. This is how I understand the divine, and why I continue to seek it in the resolutely non-human world, with which we nonetheless recognize a numinous kinship. Sometimes, it will turn and lock eyes with you, lifting you out of yourself, changing everything. Other times, it will give you the side-eye and swoop away, leaving you longing for retreating beauty. You might not see it every single time you go looking, or where you expect to find it. No matter how common the experience, every time you stumble across mystery, or independent wild being, it is a surprise and a miracle. And every day, you can look." - Sara Amis, "A Daily Heron

That was just grand, John, but I was thinking along a path varying a bit from that. You know that Man’s brain is actually all of him. All parts of his body, as you follow down from his brain, act simply as aids to it. His nostrils bring him air; his mouth is for masticating his food; his hands and limbs furnish ability for manipulation and locomotion; and his lungs, stomach and all inward organs function only for that brain. If you look at a crowd you say that you saw lots of folks: but if you look at a man bathing in a pond; and if that man sank until only that part from his brow upward was in sight, you might say that you saw nobody; only a man’s scalp. But you actually saw a man, for a man is only as big as that part still in sight. Now a child’s skull, naturally, is not so big as a man’s; so its brain has no room for all that vast mass of thoughts which adult brains contain. It is, so to say, in a small room. But, as days and months go by, that room will push its walls outward, and that young brain gradually fill up all that additional room. So, looking for calm, cool thinking in a child is as silly as looking for big, juicy plums amongst frail spring blossoms. Why, oh, why don’t folks think of that? ... But God don’t do so; for God knows that, without a tiny hand to hold, a tiny foot to pat, tiny lips to kiss, and a tiny, warm, wriggling body to hug, Man would know nothing but work.

During those contemplative moments on Walden Pond, Henry David Thoreau seemed aware of such complex interactions—that, (as had been relayed by Kuan Yin), “It takes a tremendous amount of courage to deeply relate to nature...You’re too distracted by other issues. Put them aside and really look at the flower with me.” “I’m looking at the flower and watching how Kuan Yin relates to it, I’m seeing how the act of relating to a flower appears to be so simple. Yet, it takes a tremendous amount of courage to make such a simple act important. I understand now how busyness can be a real distraction, how it can create ‘made up’ realities. Being present means an absence of past and future. I’m seeing how bringing the mind into the present is the link to eternity and that true meditation is the acceptance of no past or future. I realize these are amazingly brave concepts, that there are only moments upon moments to be lived. It’s almost inconceivable. Usually Kuan Yin takes me on a journey somewhere. Or there is an elaborate backdrop. Today, however, we’re in ‘no place’. Against only a backdrop of air, Kuan Yin sits; intent upon really being with a flower. It’s so interesting. There is a tremendous difference between the consciousness of really being with something and, for instance, living a life. It’s as if the life is the dream!” Indeed, the following quotations from “Walden” illustrate Thoreau’s deep abidance of nature—that through such a sacred connection, we access the deep vitality of our being, elevating ourselves as well as our surroundings: “It's the beauty within us that makes it possible for us to recognize the beauty around us. The question is not what you look at but what you see.” ~ Henry David Thoreau - Walden Equally, Thoreau appears to espouse the higher elevations of human consciousness—that there exists an inseparable bond, regardless of ego’s prejudices, between the ego and Higher Self.

She can't see herself apart from the rest of the world or the world from what she must do every spring. Crawling up the high hill, luminous under the sand that has packed against her skin, she doesn't dream, she knows she is a part of the pond she lives in, the tall trees are her children, the birds that swim above her are tied to her by an unbreakable string.

When I felt better, I tried to remember what had been beautiful in my life. I did not think about love or how I had wandered all over the world. I did not think about night flights across the ocean or how I played Canadian hockey in Prague. I remembered walking along the brooks, rivers, ponds, and dams to fish. I realized that these were the most beautiful experiences in my life.

Once upon a time, A fish lived in the pond. She was very happy because she had many friends, everything was beautiful and everyone loved her for having a good helping nature, she walked around happily everyday. People from far used to come to see her and admire her and say that I wish we had, we would have taken good care of her and said many more such kind words for her. In this way, her days keep going well. One day a bad fish comes in that pond which starts troubling that fish a lot. At first she tries hard to protect herself from the evil fish for a few days. But then she decides that she will leave the pond. Only then will she be able to live happily and live well. Her friends convinced her a lot, that don't go like this, this is your home, how many good times you have spent here. But the good fish had decided that she would go away with those people who praised her and used to say that they would take care of her and keep her happy. And finally she leaves, Some days those people keep the fish well, a day comes when they do not have anything to eat, they eat that good fish and that fish dies. Moral of the Story: You should fight with your bad situation at every second. If you run away from your bad situation like this, you will be killed by someone else like this good fish has died. If she had fought a little more, she might have been alive today.