Printed Song Quotes

That’s the problem with history, we like to think it’s a book—that we can turn the page and move the fuck on. But history isn’t the paper it’s printed on. It’s memory, and memory is time, emotions, and song. History is the things that stay with you.

It strikes Werner just then as wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world - what pretensions humans have!

My turn now. The story of one of my insanities. For a long time I boasted that I was master of all possible landscapes-- and I thought the great figures of modern painting and poetry were laughable. What I liked were: absurd paintings, pictures over doorways, stage sets, carnival backdrops, billboards, bright-colored prints, old-fashioned literature, church Latin, erotic books full of misspellings, the kind of novels our grandmothers read, fairy tales, little children's books, old operas, silly old songs, the naive rhythms of country rimes. I dreamed of Crusades, voyages of discovery that nobody had heard of, republics without histories, religious wars stamped out, revolutions in morals, movements of races and continents; I used to believe in every kind of magic. I invented colors for the vowels! A black, E white, I red, O blue, U green. I made rules for the form and movement of every consonant, and I boasted of inventing, with rhythms from within me, a kind of poetry that all the senses, sooner or later, would recognize. And I alone would be its translator. I began it as an investigation. I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still.

Our works in stone, in paint, in print, are spared, some of them, for a few decades or a millennium or two, but everything must finally fall in war, or wear away into the ultimate and universal ash - the triumphs, the frauds, the treasures and the fakes. A fact of life: we're going to die. "Be of good heart," cry the dead artists out of the living past. "Our songs will all be silenced, but what of it? Go on singing." Maybe a man's name doesn't matter all that much.

It had been June, the bright hot summer of 1937, and with the curtains thrown back the bedroom had been full of sunlight, sunlight and her and Will's children, their grandchildren, their nieces and nephews- Cecy's blue eyed boys, tall and handsome, and Gideon and Sophie's two girls- and those who were as close as family: Charlotte, white- haired and upright, and the Fairchild sons and daughters with their curling red hair like Henry's had once been. The children had spoken fondly of the way he had always loved their mother, fiercely and devotedly, the way he had never had eyes for anyone else, and how their parents had set the model for the sort of love they hoped to find in their own lives. They spoke of his regard for books, and how he had taught them all to love them too, to respect the printed page and cherish the stories that those pages held. They spoke of the way he still cursed in Welsh when he dropped something, though he rarely used the language otherwise, and of the fact that though his prose was excellent- he had written several histories of the Shadowhunters when he's retired that had been very well respected- his poetry had always been awful, though that never stopped him from reciting it. Their oldest child, James, had spoken laughingly about Will's unrelenting fear of ducks and his continual battle to keep them out of the pond at the family home in Yorkshire. Their grandchildren had reminded him of the song about demon pox he had taught them- when they were much too young, Tessa had always thought- and that they had all memorized. They sang it all together and out of tune, scandalizing Sophie. With tears running down her face, Cecily had reminded him of the moment at her wedding to Gabriel when he had delivered a beautiful speech praising the groom, at the end of which he had announced, "Dear God, I thought she was marrying Gideon. I take it all back," thus vexing not only Cecily and Gabriel but Sophie as well- and Will, though too tired to laugh, had smiled at his sister and squeezed her hand. They had all laughed about his habit of taking Tessa on romantic "holidays" to places from Gothic novels, including the hideous moor where someone had died, a drafty castle with a ghost in it, and of course the square in Paris in which he had decided Sydney Carton had been guillotined, where Will had horrified passerby by shouting "I can see the blood on the cobblestones!" in French.

I left the bed as she had left it, unmade and rumpled, coverlets awry, so that her body's print might rest still warm beside my own. Until the next day I did not go to bathe, I wore no clothes and did not dress my hair, for fear I might erase some sweet caress. That morning I did not eat, nor yet at dusk, and put no rouge nor powder on my lips, so that her kiss might cling a little longer. I left the shutters closed, and did not open the door, for fear the memory of the night before might vanish with the wind.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

It strikes Werner just then as wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world—what pretensions humans have! Why bother to make music when the silence and wind are so much larger? Why light lamps when the darkness will inevitably snuff them?

wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world—what pretensions humans have! Why bother to make music when the silence and wind are so much larger? Why light lamps when the darkness will inevitably snuff them?

The white boots with unicorns printed on them because, even though I’m fifteen, I still think the unicorn would be the world’s greatest animal.

You live forever in your words, in hearts and memories, in your creations and connections. The seeds you sow, the child you raise, the song you sing, the story you write with your time here. You are eternal, you are forever present in your oily DNA and your unique thumb print.

The more I dim my eyes over print and frazzle my brain over abstract ideas, the more I appreciate the delight of being basically an animal wrapped in a sensitive skin: sex, the resistance of rock, the taste and touch of snow, the feel of the sun, good wine and a rare beefsteak and the company of friends around a fire with a guitar and lousy old cowboy songs. Despair: I'll never be a scholar, never be a decent good Christian. Just a hedonist, a pagan, a primitive romantic

Where do songs go when you cease to hear them? Where does the turbulence of the air disappear after thousands of birds flap their wings homeward at eventide? Where are the cries of the Rajput women who spatter their red palm prints on the wall and leap into the flames of johar? Where is my childhood, my catapult, my broken slate, my first parrot, my youth and first sin and all those that followed, where is my old age and the first time I saw the woman from Merta? Ask Gambhiree. She knows it all.

To see takes time, like having a friend takes time. It is as simple as turning off the television to learn the song of a single bird. Why should anyone do such things? I cannot imagine—unless one is weary of crossing days off the calendar with no sense of what makes the last day different from the next. Unless one is weary of acting in what feels more like a television commercial than a life. The practice of paying attention offers no quick fix for such weariness, with guaranteed results printed on the side. Instead, it is one way into a different way of life, full of treasure for those who are willing to pay attention to exactly where they are.

Blew it up his nose. That woman should have cards printed: 'Dr. Evan Wilson, Imaginative Medicine a Specialty.

Feigned or not, sometimes I'm jealous of Hominy's oblivousness, because he, unlike America, has turned the page. That's the problem with history, we like to think of it's a book – that we can turn the page and move the fuck on. But history isn't the paper it's printed on. It's memory, and memory is time, emotions, and song. History is the things that stay with you.

She realized that the photograph had caused his reaction. It came to her almost as a revelation. Think of it: a photographer presses a button. A few hours later and half a world away, some dots of ink on a news print showed what he had seen-and had the power to touch peoples emotions, perhaps to change their way of thinking.

Yes, he could walk forever. He could so easily continue to walk and all thoughts of death would fall away, absorbed by the silent snow. [...] And then he heard it, very faintly at first, but distinct just the same. He heard the snow falling gently through the air, each flake sounded distinctly different, yet just as each fell unhindered by another, so their sound did not clash or interfere with each other, but blended into a snow song that he knew very few had ever heard. And that song became louder, though always gentle, as he continued to be absorbed by the light, to become one with the light... and now there weren’t any feet to leave prints, or a body or eyes to glow, but just light and sound and pure joy, pure eternal joy. No past, no future, no, not even a present, just ever new joy where there wasn’t even a memory of pain or struggle or sorrow... just ever new joy...

It still hurt her to see their poems before her, printed in the curving Yeged-dai script, using Yegedin forms and the images so beloved of the Yegedin: the single pebble, the grasshopper at twilight, the song of a heartbroken lark sitting in a bent tree.

The difference between Before and After is that today we need to safeguard our inner weirdo, seal it off and protect it from being buffeted. Learn an old torch song that nobody knows; read a musty, out-of-print detective novel; photograph a honey-perfect sunset and show it to no one. We may need to build new and stronger weirdo cocoons, in which to entertain our private selves. Beyond the sharing, the commenting, the constant thumbs-upping, beyond all that distracting gilt, there are stranger things waiting to be loved.

Although he had changed his name, his history came with him, even to his writing. The rhythm of his rain-soaked childhood became a sequence of words. His memories of the understory of the great forest burst into lyrical phrases, as resinous as the sap of a pinecone, as crisp as the shell of a beetle. Sentences grew long, then pulled up short, taking on the tempo of the waves upon the shore, or swayed gently, like the plaintive song of a lone harmonica. His fury became essays that pointed, stabbed, and burned. His convictions played out with the monotonous determination of a printing press. And his affections became poems, as warm and supple as the wool of a well-loved sheep.

He looked at the houses he had been passing these weeks and though he had never studied them carefully they had become familiar through the process of seeing them so often, and he was now impressed with the change in their appearance as he looked at them through the gray of the air and whiteness of the snow, each house, shrub, tree, bush and mailbox trimmed with snow and blending into the air as if they were just a picture projected upon the still, pearly grayness, just an impression created by the silent snow, a picture on the edge and verge of disappearing and leaving only the air and snow through which he now lightly walked. It did not seem possible, but the air was even softer and quieter. He continued walking alongside his prints feeling he could walk forever, that as long as the silent snow continued falling he could continue walking, and as he did he would leave behind all worries and cares, all horrors of the past and future. There would be nothing to bother him or torture his mind and fill his body with tremors of fear, the dark night of the soul over. There would only be himself and the soft, silent snow; and each flake, in its own life, its own separate and distinct entity, would bring with it its own joy, and he would easily partake of that joy as he continued walking, the gentle, silent snow falling ever so quietly, ever so joyously ... yes, and ever so love-ing-ly ... loveing-ly....

Bhagat Singh revered Lajpat Rai as a leader. But he would not spare even Lajpat Rai, when, during the last years of his life, Lajpat Rai turned to communal politics. He then launched a political-ideological campaign against him. Because Lajpat Rai was a respected leader, he would not publicly use harsh words of criticism against him. And so he printed as a pamphlet Robert Browning’s famous poem, ‘The Lost Leader,’ in which Browning criticizes Wordsworth for turning against liberty. The poem begins with the line ‘Just for a handful of silver he left us.’ A few more of the poem’s lines were: ‘We shall march prospering, not thro’ his presence; Songs may inspirit us, not from his lyre,’ and ‘Blot out his name, then, record one lost soul more.’ There was not one word of criticism of Lajpat Rai. Only, on the front cover, he printed Lajpat Rai’s photograph!

In The Invention of Literature (1999), the classical scholar Florence Dupont reminds us that many of the greatest works of human imagination were created to be performed, to be heard. Before the printing press and mass literacy, the written versions existed as blueprints or records of performances, recitals, speeches, songs, and other forms of oral communication. Voicing was an art of living creators, and the voice of the storyteller was

It will only be necessary to carry an inexpensive instrument not bigger than a watch, which will enable its bearer to hear anywhere on sea or land for distances of thousands of miles. One may listen or transmit speech or song to the uttermost parts of the world. In the same way, any kind of picture, drawing, or print can be transferred from one place to another. It will be possible to operate millions of such instruments from a single station.

It strikes Werner just then as wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world—what pretensions humans have!

That’s the problem with history, we like to think it’s a book— that we can turn the page and move the fuck on. But history isn’t the paper it’s printed on. It’s memory, and memory is time, emotions, and song. History is the things that stay with you.

This is what I do.” I had written three books. It was only after I finished Song of Solomon that I thought, “Maybe this is what I do only.” Because before that I always said that I was an editor who also wrote books or a teacher who also wrote. I never said I was a writer. Never. And it’s not only because of all the things you might think. It’s also because most writers really and truly have to give themselves permission to win. That’s very difficult, particularly for women. You have to give yourself permission, even when you’re doing it. Writing every day, sending books off, you still have to give yourself permission. I know writers whose mothers are writers, who still had to go through a long process with somebody else—a man or editor or friend or something—to finally reach a point where they could say, “It’s all right. It’s okay.” The community says it’s okay. Your husband says it’s okay. Your children say it’s okay. Your mother says it’s okay. Eventually everybody says it’s okay, and then you have all the okays. It happened to me: even I found a moment after I’d written the third book when I could actually say it. So you go through passport and customs and somebody asks, “What do you do?” And you print it out: WRITE.

what I really want are thick books with fine print, difficult sentences, long words, and enormous ideas, books written in a feverish hand by writers who hate the world yet can’t keep from loving it, whose feelings so demand to be understood that if they didn’t write them down they would go blind. Bring me books by women who have fallen out of step with society and refuse to march and sing the old songs. Books by men who through terrifying sacrifice overcome all the challenges set before them but one. Find me books by sensualists who drink their cups dry every time and yet never figure out why they’re so thirsty, and books by pious men and women who continue to believe that being good will save them. Bring me books about people in love, people so passionate about each other they will stand against family, community, country, fortune, and fame in order to be together, and books about people who don’t have a chance in hell yet somehow find one. Bring me books about the fear of God and the depths of nature, books about history, philosophy, psychology, science, and motorcycles.

He grew enthusiastic in thinking of the convents. Ah! to be earthed up among them, sheltered from the herd, not to know what books appear, what newspapers are printed, never to know what goes on outside one's cell, among men—to complete the beneficent silence of this cloistered life, nourishing ourselves with good actions, refreshing ourselves with plain song, saturating ourselves with the inexhaustible joys of the liturgies.

It strikes Werner just then as wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world—what pretensions humans have! Why bother to make music when the silence and wind are so much larger? Why light lamps when the darkness will inevitably snuff them? When Russian prisoners are chained by threes and fours to fences while German privates tuck live grenades in their pockets and run?

Karma," he said once, "is not a sentence already printed. It is a series of words the author can arrange as she choses." Love. Murder. A broken heart. The professor in the drawing room with candlestick. The detective in the bar with the gun. The guitar player backstage with the pick. Maybe it was true: Life was a series of words we'd been given to arrange as we pleased, only no one seemed to know how. A word game with no right solution, a crossword puzzle where we couldn't quite remember the name of that song.

In relation to “Killing Me Softly,” I was surely a poseur, the kind of coward to whom crossover albums were marketed or, worse yet, someone co-opting someone else’s bad experience. And yet, now, in the Tower Records, I understood that there was a sense in which “Killing Me Softly” was just a song—it itself wasn’t the cursive font in which the titles were printed, which made me think of a tattoo, and caused me to feel sheltered and useless. I ended up buying the cassette single, because it was only two dollars, and because it seemed more honest about just being into the most popular song on the album.

The oldest recorded example of fiat money was jiaozi, a paper currency issued by the Song dynasty in China in the tenth century. Initially, jiaozi was a receipt for gold or silver, but then government controlled its issuance and suspended redeemability, increasing the amount of currency printed until it collapsed. The Yuan dynasty also issued fiat currency in 1260, named chao, and exceeded the supply far beyond the metal backing, with predictably disastrous consequences. As the value of the money collapsed, the people fell into abject poverty, with many peasants resorting to selling their children into debt slavery.

Lucy Gray Oft I had heard of Lucy Gray, And when I cross'd the Wild, I chanc'd to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wild Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. "To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow." "That, Father! will I gladly do; 'Tis scarcely afternoon— The Minster-clock has just struck two, And yonder is the Moon." At this the Father rais'd his hook And snapp'd a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse, the powd'ry snow That rises up like smoke. The storm came on before its time, She wander'd up and down, And many a hill did Lucy climb But never reach'd the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlook'd the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turn'd, and cry'd "In Heaven we all shall meet!" When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They track'd the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they cross'd, The marks were still the same; They track'd them on, nor ever lost, And to the Bridge they came. They follow'd from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

Absence " Then the birds stitching the dawn with their song have patterned your name. Then the green bowl of the garden filling with light is your gaze. Then the lawn lengthening and warming itself is your skin. Then a cloud disclosing itself overhead is your opening hand. Then the first seven bells from the church pine on the air. Then the sun's soft bite on my face is your mouth. Then a bee in a rose is your fingertip touching me here. Then the trees bending and meshing their leaves are what we would do. Then my steps to the river are text to a prayer printing the ground. Then the river searching its bank for your shape is desire. Then a fish nuzzling for the water's throat has a lover's ease. Then a shawl of sunlight dropped in the grass is a garment discarded. Then a sudden scatter of summer rain is your tongue. Then a butterfly paused on a trembling leaf is your breath. Then the gauzy mist relaxed on the ground is your pose. Then the fruit from the cherry tree falling on grass is your kiss, your kiss. Then the day's hours are theatres of air where I watch you entranced. Then the sun's light going down from the sky is the length of your back. Then the evening bells over the rooftops are lovers' vows. Then the river staring up, lovesick for the moon, is my long night. Then the stars between us are love urging its light.

The newspapers came out every day with horror stories of sheep buried in snowdrifts, of song-birds frozen to the branches on which they perched, of fruit trees hopelessly nipped in the bud, and the situation seemed dreadful to those who, like Mrs Heathery, believe all they see in print without recourse to past experience. I tried to cheer her up by telling her, what, in fact, proved to be the case, that in a very short time the fields would be covered with sheep, the trees with birds, and the barrows with fruit just as usual. But though the future did not disturb me I found the present most disagreeable, that winter should set in again so late in the spring, at a time when it would not be unreasonable to expect delicious weather, almost summer-like, warm enough to sit out of doors for an hour or two.

Man tends to regard the order he lives in as natural. The houses he passes on his way to work seem more like rocks rising out of the earth than like products of human hands. He considers the work he does in his office or factory as essential to the har­monious functioning of the world. The clothes he wears are exactly what they should be, and he laughs at the idea that he might equally well be wearing a Roman toga or medieval armor. He respects and envies a minister of state or a bank director, and regards the possession of a considerable amount of money the main guarantee of peace and security. He cannot believe that one day a rider may appear on a street he knows well, where cats sleep and chil­dren play, and start catching passers-by with his lasso. He is accustomed to satisfying those of his physio­logical needs which are considered private as dis­creetly as possible, without realizing that such a pattern of behavior is not common to all human so­cieties. In a word, he behaves a little like Charlie Chaplin in The Gold Rush, bustling about in a shack poised precariously on the edge of a cliff. His first stroll along a street littered with glass from bomb-shattered windows shakes his faith in the "naturalness" of his world. The wind scatters papers from hastily evacuated offices, papers labeled "Con­fidential" or "Top Secret" that evoke visions of safes, keys, conferences, couriers, and secretaries. Now the wind blows them through the street for anyone to read; yet no one does, for each man is more urgently concerned with finding a loaf of bread. Strangely enough, the world goes on even though the offices and secret files have lost all meaning. Farther down the street, he stops before a house split in half by a bomb, the privacy of people's homes-the family smells, the warmth of the beehive life, the furniture preserving the memory of loves and hatreds-cut open to public view. The house itself, no longer a rock, but a scaffolding of plaster, concrete, and brick; and on the third floor, a solitary white bath­ tub, rain-rinsed of all recollection of those who once bathed in it. Its formerly influential and respected owners, now destitute, walk the fields in search of stray potatoes. Thus overnight money loses its value and becomes a meaningless mass of printed paper. His walk takes him past a little boy poking a stick into a heap of smoking ruins and whistling a song about the great leader who will preserve the nation against all enemies. The song remains, but the leader of yesterday is already part of an extinct past.

Gerlitz, Claudia Förster, and fifteen-year-old Jutta Pfennig—are transported from Essen to Berlin to work in a machine parts factory. For ten hours a day, six days a week, they disassemble massive forging presses and stack the usable metal in crates to be loaded onto train cars. Unscrewing, sawing, hauling. Most days Frau Elena works close by, wearing a torn ski jacket she has found, mumbling to herself in French or singing songs from childhood. They live above a printing company abandoned a month before. Hundreds of crates of misprinted dictionaries are stacked in the halls, and the girls burn them page by page in the potbelly stove. Yesterday Dankeswort, Dankesworte, Dankgebet, Dankopfer. Today Frauenverband, Frauenverein, Frauenvorsteher, Frauenwahlrecht. For meals they have cabbage and barley in the factory canteen at noon, endless ration lines

There is a light adversarial relationship between publishers and authors that I think probably works effectively. But that’s why I was very quiet about writing. I don’t know what made me write it. I think I just wanted to finish the story so that I could have a good time reading it. But the process was what made me think that I should do it again, and I knew that that was the way I wanted to live. I felt very coherent when I was writing that book. But I still didn’t call myself a writer. And it was only with my third book, Song of Solomon, that I finally said—not at my own initiative I’m embarrassed to tell you but at somebody else’s initiative—“This is what I do.” I had written three books. It was only after I finished Song of Solomon that I thought, “Maybe this is what I do only.” Because before that I always said that I was an editor who also wrote books or a teacher who also wrote. I never said I was a writer. Never. And it’s not only because of all the things you might think. It’s also because most writers really and truly have to give themselves permission to win. That’s very difficult, particularly for women. You have to give yourself permission, even when you’re doing it. Writing every day, sending books off, you still have to give yourself permission. I know writers whose mothers are writers, who still had to go through a long process with somebody else—a man or editor or friend or something—to finally reach a point where they could say, “It’s all right. It’s okay.” The community says it’s okay. Your husband says it’s okay. Your children say it’s okay. Your mother says it’s okay. Eventually everybody says it’s okay, and then you have all the okays. It happened to me: even I found a moment after I’d written the third book when I could actually say it. So you go through passport and customs and somebody asks, “What do you do?” And you print it out: WRITE.

Sam Moore had scuffled his way into hosting a talent show at a nightclub, the King of Hearts, in his hometown of Miami. Dave Prater was a bread baker. Sam remembers that when Dave signed up for that week’s show, he was wearing his baker’s whites; wherever he walked, he left behind white flour shoe prints. At the auditions, Dave sang a Jackie Wilson song, “Doggin’ Around,” but realized he didn’t know the verses. Sam, whose job depended on selecting acts that would produce a good show, agreed to stay close during the performance and feed him the lines. But that night, Sam’s foot caught the microphone cable, and as the mike began to fall, Dave went down to catch it and Sam went down to catch Dave. Choreographers couldn’t have written it better: They came up together, singing and with the mike in hand. In that little mix-up, an act was born that would last the better part of twenty-two years and would remain forever a part of the public consciousness.

Oft had I heard of Lucy Gray, And when I crossed the Wild, I chanced to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wide Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. 'To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow.' 'That, Father! will I gladly do; 'Tis scarcely afternoon -- The Minster-clock has just struck two, And yonder is the Moon.' At this the Father raised his hook And snapped a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse the powd'ry snow That rises up like smoke. The storm came on before its time, She wandered up and down, And many a hill did Lucy climb But never reached the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlooked the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turned, and cried 'In Heaven we all shall meet!' When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They tracked the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they crossed, The marks were still the same; They tracked them on, nor ever lost, And to the Bridge they came. They followed from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

The Occupied Territories; you think there is absolutely no way you can get to it. Do you see how close it is? How touchable? How real? When the eye sees it, it has all the clarify of earth and pebbles and hills and rocks. It has its colours and its temperatures and its wild plants too. Who would dare to make it into an abstraction now that it has declared its physical self to the senses? It is no longer ’the beloved’ in the poetry of resistance, or an item on a political party program, and it is not an argument or a metaphor. It stretches before me, as touchable as a scorpion, a bird, a well; visible as a field of chalk, as the prints of shoes. I asked myself, what is so special about it except that we have lost it? It is a land, like any land. We sing for it only so that we may remember the humiliation of having had it taken from us. Our song is not for some sacred thing of the past but for our current self-respect that is violated anew every day by the Occupation.

Oh,Ella. I wish you'd had a better time at the ball." "Fuhgeddaboudit," I muttered. Greaseball. Freddy. Freak. "It's not like she and I were ever going to be BFFs." "I wasn't just referring to Amanda." Of course he wasn't. "I'll try," I moaned into the crook of my elbow. "Oh, Lord.I'll try to carry on." "That sounds rather dramatic, even for you." "It's Styx," I told him. "After your time, before mine. I don't know all the words,but those work for the moment. And for the record, I'm being ironic, not dramatic." "If you say so." I ignored him. "I have had my last flutter over Alex Bainbridge. I mean it. Frankie was right.How many signs do I need that we are never, ever going to have...anything...before I get it? Obviously, it doesn't matter that we realte to the same schizo seventies songs. Or that we can discuss antique Japanese woodblock prints. Or that when he sits next to me, he kinda takes my breath away. You would think that would count for a lot,wouldn't you?" Edward gets the concept of rhetorical questions, so I went on. "I wouldn't even want to hazard a guess about what makes Amanda's pulse go all skittery, but I would bet anything it's not Alex. And he's still with her. He doesn't belong with her, but apparently he feels he belongs to her. Explain that,please." "Oh,Ella.We men are not always the best at looking beyond the...er..." "Boobs,Edward. You can say it. Amanda Alstead has boobs and blonda hair. Beyond that, I can't see a single thing that's special about her." "Because there isn't a single thing. Beyond the...er, obvious. You,on the other hand,are a creature of infinite charms. Shall I list them alphabetically or from the top down?" I scowled up at him. "Y'know, you are beginning to sound a little too much like Frankie and Sadie,my deluded Greek chorus." "yes,well,I rather thought that's what friends are for." "You're not supposed to be my friend," I muttered. "You're supposed to be my Prince Charming." "Ahem." Edward's sculpted lips compressed into a grim line. "Have you looked at me lately? I am supposed to be startling and even a bit scary." "Nope.Neither." I rested my chin on my forearm. "To me,you are perfect. You are loyal and reliable and completely lacking in surprises." "That is a good thing?" "Absolutely," I said. "It's an excellent thing.I don't want any more surprises, over." "Hardly an admirable goal,that." "Maybe not," I agreed, "but pleasant. Among all the other bizarreness tonight, I found something new to be afraid of. Evil girlfriends." "Now,Ella. You can't go on being afraid forever." "Oh,yes,I can. As far as Amanda Alstead is concerned, I can." Edward tilted his head and studied me for a moment. He looked annoyed. "Why do you insist on having these conversations with me when you ignore everything I have to say?" It was a pretty good question. "Fine." I sat up straight and folded my hands in my lap. Home Truth time. "Go ahead. On this night when we celebrate the mysteries of life and death..Say something profound, something startling." There was a long silence. Then, "Boo," Edward said. "Thank you,Mr. Willing." "Don't mention it, Miss Marino. I am yours to command.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

Though her head was aching too much for her to reason with herself, she could think of nice things - the Cumberland hills, her lambs, her Nannie, who had taught her this trick of detachment. "When you're sick or sorry, child" she had said, "think of other things as much as you are able. It's just practice, Start young and you'll get the trick of it." And most astonishingly, after a little while of going back to childhood and remembering Nannie in her blue print dress, with her white apron on and her sleeves rolled up, turning on the bath-water and humming a little song as she did it, she fell asleep.

She was bad at love. There were people in the world who were good at love and people who were bad at it. She was bad. She used to think she was good at love, that it was intimacy she was bad at. But you had to have both. Love without intimacy, she knew, was an unsung tune. It was all in your head. You said, "Listen to this!" but what you found yourself singing was a tangle, a nothing, a heap. It reminded her of a dinner party she had gone to once, where dessert was served on plates printed with French songs. After dinner everyone had had to sing their plate, but hers had still had whipped cream on it, and when it came her turn, she had garbled the notes and words, frantically pushing the whipped cream around with a fork so she could see the next measure. Oh, she was bad, bad like that, at love.

I believe that information technologies, especially well-designed, purposeful ones, empower and renew us and serve to amplify our reach and our abilities. The ensuing connectedness dissolves away intermediary layers of inefficiency and indirection. Some of the most visible recent examples of this dissolving of layers are the transformations we have seen in music, movies and books. Physical books and the bookstores they inhabited have been rapidly disappearing, as have physical compact discs, phonograph records, videotapes and the stores that housed them. Yet there is more music than ever before, more books and more movies. Their content got separated from their containers and got housed in more convenient, more modular vessels, which better tie into our lives, in more consumable ways. In the process, layers of inefficiency got dissolved. By putting 3000 songs in our pockets, the iPod liberated our music from the housings that confined it. The iPhone has a high-definition camera within it, along with a bunch of services for sharing, distributing and publishing pictures, even editing them — services that used to be inside darkrooms and studios. 3D printing is an even more dramatic example of this transformation. The capabilities and services provided by workshops and factories are now embodied within a printer that can print things like tools and accessories, food and musical instruments. A remarkable musical flute was printed recently at MIT, its sound indistinguishable from that produced by factory-built flutes of yesterday.

Jonathon, who has the Kung Chow act—always good to have another of the company about—” “Kung Chow?” Wolf said in dismay. “I am not going to substitute for one of his wretched doves again! Really, Nigel, this is going too far—” “No one is asking you to substitute for a dove, Wolf,” Nigel said, pacing faster. “We should make this a real Arabian Nights story. Shipwreck our girl in Arabia, have her taken to a harem, that way we can bring in all the variety acts as things to entertain the sultan! And have an excuse to put her in as little as we can convince her to wear. And there are plenty of girls in our chorus who wouldn’t blanch at doing a harem dance. Have her escape with the Court Magician’s help—” “Oh good lord, why don’t you just steal the plot and music from my Abduction from the Seraglio and have done with it?” Wolf said in disgust. “Why don’t I—Wolf! That’s brilliant!” Nigel turned towards the parrot and conductor with a smile lighting up his face. “Perfect! You adapt the music for our show, we can tout it as ‘Based on Abduction from the Seraglio by Wolfgang Amadeus Mozart.’ Make the print just large enough that the punters won’t notice and the high-minded will. The punters will get their nautch dances, and the high-toned will tell each other how fine it is to listen to classical music while they gawk at the nautch dances from behind their pince-nezes. It’s brilliant! I love you!” As Wolf growled in startlement, Nigel swooped him up, kissed his beak, and put him back down on his stand again. “Brilliant! Brilliant! I’m going to go look up the libretto of this opera of yours and see what I can keep out of it. Arthur, help Wolf with some catchy lyrics. We’ll need at least one love song, of course, and one song about being homesick. And one from the sultan about making the beauty his slave for all time—” Nigel strode off, heading for the music library. Behind him, Wolf sighed. “Well,” the parrot said in resignation. “At least I won’t have to make up any little tinkly tunes this time.” 5 NINETTE sat up in the bed, curled her arms around her knees, and listened in astonishment to the cat.

deep in the haunted forest. “Seven hells.” He gave the leashes a hard yank to get the dogs’ attention. “Track, you bastards. That’s a bear print. You want some meat or no? Find!” But the hounds only huddled closer, whining. Chett snapped his short lash above their heads, and the black bitch snarled at him. “Dog meat would taste as good as bear,” he warned her, his breath frosting with every word. Lark the Sisterman stood with his arms crossed over his chest and his hands tucked up into his armpits. He wore black wool gloves, but he was always complaining how his fingers were frozen. “It’s too bloody cold to hunt,” he said. “Bugger this bear, he’s not worth freezing over.” “We can’t go back emptyhand, Lark,” rumbled Small Paul through the brown whiskers that covered most of his face. “The

To be that with a certain knowledge, neither happy nor sad, but thankful to the sun for its brilliance and to the stars for their remoteness. To be nothing more, to have nothing more, to desire nothing further... The music of the starving beggar, the song of the blind man, the relic of the unknown vagabond, the hoof-prints in the desert of an unladen camel without a point of arrival”.

There is an essay on the language of the dying. The dying sometimes speak of themselves in the third person. I was not speaking that way. I said: I am bleeding. I am going to bleed to death. And I will be lucky if I die before he returns. Give me my Scallop shell of quiet. You know, they did not print the whole of the Indian song in the subway. Only a few lines. But I know the poem. 'It's off in the distance. It came into the room. It's here in the circle.' I know the poem. She knows the poem.

For all that, we have to realize that many revived folk songs today, in their “second existence”, are probably enjoying a more vigorous life than they did in their first, restricted time, even if they are bent to different purposes.’9 Folk music had been set free to soar like the kestrel. Two years after this was printed, Lloyd was playing ‘Deep Throat’ consultant to Fairport Convention’s revamping of folk on Liege and Lief.

In reality, two factors often tied to the emergence of nationalism in the early modern West, general education (as distinct from specialized training) and commercial printing, already existed in China by the eleventh century.20 Under such circumstances, one might expect the appearance of a new form of collective consciousness in Northern Song China as well. The relationship between the Song nation and the modern Chinese nation is, however, complex. Besides adhering to a very different ideology of political legitimacy, Northern Song Chinese differed from modern nationalists in how they defined the boundaries of their state. Contemporary China is conceived today to be a multiethnic state composed of fifty-six “nationalities.” Its “natural” territory extends deep into Central Asia. In its Song iteration, as will be clear in a later chapter, China was imagined to be a monoethnic nation that controlled neither Manchuria, nor the modern peripheral provinces of Guizhou, Yunnan, Tibet, and Xinjiang.

I’ve just been to see Audrey,” Beatrix said breathlessly, entering the private upstairs parlor and closing the door. “Poor Mr. Phelan isn’t well, and--well, I’ll tell you about that in a minute, but--here’s a letter from Captain Phelan!” Prudence smiled and took the letter. “Thank you, Bea. Now, about the officers I met last night…there was a dark-haired lieutenant who asked me to dance, and he--” “Aren’t you going to open it?” Beatrix asked, watching in dismay as Prudence laid the letter on a side table. Prudence gave her a quizzical smile. “My, you’re impatient today. You want me to open it this very moment?” ”Yes.” Beatrix promptly sat in a chair upholstered with flower-printed fabric. “But I want to tell you about the lieutenant.” “I don’t give a monkey about the lieutenant, I want to hear about Captain Phelan.” Prudence gave a low chuckle. “I haven’t seen you this excited since you stole that fox that Lord Campdon imported from France last year.” “I didn’t steal him, I rescued him. Importing a fox for a hunt…I call that very unsporting.” Beatrix gestured to the letter. “Open it!” Prudence broke the seal, skimmed the letter, and shook her head in amused disbelief. “Now he’s writing about mules.” She rolled her eyes and gave Beatrix the letter. Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included

The hour that was for them, for us, for all who had awakened one morning to see their fields covered with blood rather than harvest, who didn't seek to change the world but lived in good faith and prayer offered to an imposing God, for the young women who mended their men's clothing and held their sons' mouths to the purple nipples of sweet breasts, for the man who watched the suns descend behind the mountain every evening and dreamed and when his sons were grown, passed on his dreams, for the black nights when guitars harmonized with the wind's song, to the bottle of regional brew, and a hand-rolled cigarette, to the baptism and a dance of celebration, to the aroma of soups simmering on wood-burning stoves and filled the bellies of those who worked the fields, to a candle that burned in vigil while a hungry mind gulped the printed truth of another's legacy, to the owl that called from between the moon and earth while lovers enwrapped their passion on silver tinted grass, to the history of the world and to its future, to all that had lived and died and had been born again in that moment as i approached am opaque window and pointed my weapon.

The bad news is your flaws don’t come from nowhere. The world is deeply fucked from every angle; its damage is incomprehensibly vast and ancient, hooked into the future and printed upon you in endless, innumerable ways. You can’t reverse it. But art can unmake you differently. A perfect pop song, the kind that knees you in the chest while you’re standing in a checkout line, is the sound of something familiar resolving into something transcendent. A good poem finds the cracks in the foundations of your thinking and outlines them with glitter, or sets the whole building on fire. People make things with money they get from the government, or from jobs, or from stealing, and one time out of every 500 that you go to see those things they’ve made, some small corner of your world will come unlaced because of it. That’s not a lot, but it’s proof that the work of living can be more than just gesture: that there is more to do with structure than to surrender or be crushed by it. You can always be made a little more unsure; you can always be taken a little more apart.

but I was disappointed nonetheless, because he’d made me a mixtape—an actual burned CD with the artists and song titles printed neatly on a sheet of accompanying notebook paper. That is the kind of thing that signifies the possibility of true love. I’ve been accused often over the years of not being romantic, but here is where it all oozes out: a list of songs felt by you and presented to me, rendering me flushed and swooning and poring over song lyrics to determine their hidden meaning.

The readings and tributes were followed by a song, and they were all invited to join in. The lyrics were printed in the program. "No Rain" by Blind Melon had been a favorite of Blythe's, expressing the glory of escaping into a pages of a book. The woman playing guitar was a frequent patron of the shop. She had contacted Natalie and Frieda as they were organizing the program and asked to perform in Blythe's honor. As the lyrics of the song came out of Natalie on a shaky breath, she wished she could do exactly as the words expressed---Escape, escape, escape.

He stared at the blank page, unmarked and white as a slate, but as he moved his face closer and tilted the book towards the light, he noticed that any particular spot of a blank page contains divots, like micrometer mountains, perhaps from the printing factory, or the fact that nothing exists without a fiber of substance waiting for you.

elsewhere,” Tesla explained in an interview. “He will be able to call up, from his desk, and talk to any telephone subscriber on the globe, without any change whatever in the existing equipment. An inexpensive instrument, not bigger than a watch, will enable its bearer to hear anywhere, on sea or land, music or song, the speech of a political leader, the address of an eminent man of science, or the sermon of an eloquent clergyman, delivered in some other place, however distant. In the same manner any picture, character, drawing, or print can be transferred from one to another place. Millions of such instruments can be operated from but one plant of this kind. More important than all of this, however, will be the transmission of power, without wires, which will be shown on a scale large enough to carry conviction.” Last-minute design changes were required, however,

In the Song, Yuan, and Ming dynasties, the government struggled to maintain a large enough money supply in metal coins and resorted to money printing, especially in times of war and natural or human-caused disaster. The problems with collecting taxes made the incentive to print even stronger. This caused high inflation or hyperinflation, making matters worse.

Often, the regulars of the Condé had books with them that they would set down nonchalantly on the table before them, the covers stained with wine. The Songs of Maldoror. Illuminations. The Mysterious Barricades. But Louki, at least at first, was always empty-handed. Later, she must have wanted to be like the others, and one day at the Condé I came upon her alone, reading. After that, she was never without her book. She kept it out somewhere noticeable on the table whenever she ended up with Adamov and the others, and it was as if this book were her passport or a residence permit that legitimized her presence by their sides. But nobody paid it any mind, not Adamov, not Babilée, not Tarzan, not La Houpa. It was a pocket book with a soiled cover like one you’d buy used along the quay; its title had been printed in large red letters. A French translation of Lost Horizon. At the time, it meant nothing to me.

Xas wouldn’t show Flora the fine print, because what all the old songs had to say was true—in Heaven there was no trouble

By chance – but it is not by chance – I open the preface to the Veda of my friend and master and ask whoever will listen to me: What would you save from a house in flames? A precious, irreplaceable manuscript containing a message of salvation for the human race or a small number of people threatened by that fire? The dilemma is real and not only for the writer: how can one only be an ‘intellectual, interested in the truth, or only a ‘spiritual person’ engaged in goodness, when people desperately beg for food and justice? How can one follow a contemplative, philosophical or even religious path when the world requires action, commitment and politics? Vice versa, how can one act to make a better world or an indispensable revolution when what one needs is a serene intuition and a just evaluation? It should be clear to all who share life on our planet that the house in flames is not a fact that involves only one individual. Why was I created? Why, having been saved, do I still exist? How must I live and what can I do? My reader said: If I am not ready to save the manuscript from the fire, if I don’t take my intellectual vocation seriously, placing it before everything else – even at the risk of appearing inhuman –, then I am also incapable of helping people in a more serious and immediate manner. Vice versa, if I am not attentive and ready to save people from a outbreak of fire, which means, if I don’t consider my spiritual calling with total honesty, sacrificing all the rest for it, even my own life, then I will be incapable of saving the manuscript. If I let myself be involved in the solid problems of my times and if I don’t open my home to all of the winds of the world, then whatever I produce from an ivory tower will be sterile and cursed. Also, if I don’t close the doors and windows in order to concentrate on this work, I will not be able to offer anything of value to my neighbour. I hear each book on my shelves shouting in silence: In truth, the manuscript can come out of the flames charred and people burned, but the intensity of one preoccupation has helped me with the other. The dilemma is not to choose the monastery or the disco, Harvard or Chanakyapuri (the Vatican or the Quirinal), tradition or progress, politics or academia, the Church or the State, justice or truth. In a word, reality is not a matter of ‘either...or’, it is not a matter of choosing between spirit and matter, contemplation and action, written message and living persons, East and West, theory and approach or even between divine and human.1 My sense and destiny are inscribed in these words. I am a library, thus I exist in the world and thanks to men who have written, printed, bought and guarded my texts, I exist for them and in their world. I exist also because a man has existed. 1

Love Songs (section III) - 1882-1966 We might have coupled In the bed-ridden monopoly of a moment Or broken flesh with one another At the profane communion table Where wine is spilled on promiscuous lips We might have given birth to a butterfly With the daily news Printed in blood on its wings.

By March 1948 Sheikh Abdullah was the most important man in the Valley. Hari Singh was still the state’s ceremonial head – now called ‘sadr-i-riyasat’ – but he had no real powers. The government of India completely shut him out of the UN deliberations. Their man, as they saw it, was Abdullah. Only he, it was felt, could ‘save’ Kashmir for the Union. At this stage Abdullah himself was inclined to stress the ties between Kashmir and India. In May 1948 he organized a week-long ‘freedom’ celebration in Srinagar, to which he invited the leading lights of the Indian government. The events on the calendar included folk songs and poetry readings, the remembrance of martyrs and visits to refugee camps. The Kashmiri leader commended the ‘patriotic morale of our own people and the gallant fighting forces of the Indian Union’. ‘Our struggle’, said Abdullah, ‘is not merely the affair of the Kashmir people, it is the war of every son and daughter of India.’59 On the first anniversary of Indian independence Abdullah sent a message to the leading Madras weekly, Swatantra. The message sought to unite north and south, mountain and coast, and, above all, Kashmir and India. It deserves to be printed in full: Through the pages of SWATANTRA I wish to send my message of fraternity to the people of the south. Far back in the annals of India the south and north met in the land of Kashmir. The great Shankaracharya came to Kashmir to spread his dynamic philosophy but here he was defeated in argument by a Panditani. This gave rise to the peculiar philosophy of Kashmir – Shaivism. A memorial to the great Shankaracharya in Kashmir stands prominent on the top of the Shankaracharya Hill in Srinagar. It is a temple containing the Murti of Shiva. More recently it was given to a southerner to take the case of Kashmir to the United Nations and, as the whole of India knows, with the doggedness and tenacity that is so usual to the southerner, he defended Kashmir. We in Kashmir expect that we shall continue to receive support and sympathy from the people of the south and that some day when we describe the extent of our country we shall use the phrase ‘from Kashmir to Cape Comorin’.60

The Romantic movement encouraged respect for primitive and popular culture; it also gave rise to cultural nationalism. J.G. Herder, one of the more ardent followers of the late eighteenth-century enthusiasm for collecting folk songs, popularized the view that nations express themselves in ballads, folk-tales, customs, and traditions, and that every particular language embodied a unique spirit, without which the world would be impoverished. On a visit to Riga, he had formed the view that Latvian folklore might be drowned in the prevailing sea of German. Herder’s enthusiasm for conservation caught on to become an influential source of modern nationalism.[25] But there were others, including the work of enlightened educational reformers. Czechs benefiting from new educational opportunities learned German, for example, and were thus able to devour the classics of German Romanticism. The University of Buda Press, founded in 1777, not only printed the first good Hungarian grammars but soon began to publish in Serbian, Slovak and Romanian. A grammar was vital to the definition of a single, literary language on which a sense of linguistic nationhood could be based (a collection of contrasting dialects could form no such basis). Furthermore, publication in a variety of emerging literary languages was to help spread a consciousness of a linguistic identity.

Pierre wakes up for good. As he's lying there yawning, he vaguely remembers a couple of false starts inspired by a ringing phone. He looks to his left. It's eleven. Next thing, he's stumbling down the hall toward his phone machine. 'Wait. Coffee,' he whispers in a shredded voice, veering back into the kitchen. He does what he has to, then plays back the messages, sips. Beep. 'It's Paul at Man Age. Appointment, twelve-thirty P.M., hour, Gramercy Park Hotel, room three-forty-four, name Terrence. Later.' Beep. 'Paul again. Appointment, two P.M., Washington Annex Hotel, room six-twenty, a play-it-by-ear, name Dennis, I think the same Dennis from last night. Check with us mid-afternoon. You're a popular dude. Later.' Beep. 'P., it's Marv, you there? . . . No? . . . Call me at work. Love ya.' On his way to the shower Pierre makes a stop at the stereo, plays side one of Here Comes the Warm Jets, an old Eno album. It's still on his turntable. It has this cool, deconstructive, self-conscious pop sound typical of the '70s Art Rock Pierre loves. He doesn't know why it's fantastic exactly. If he were articulate, and not just nosy, he'd write an essay about it. Instead he stomps around in the shower yelling the twisted lyrics. ' "By this time / I'd got to looking for a kind of / substitute . . ." ' It's weird to get lost in something so calculatedly chaotic. It's retro, pre-punk, bourgeois, meaningless, etc. ' ". . . I can't tell you quite how / except that it rhymes with / dissolute." ' Pierre covers his ears, beams, snorts wildly. Tying his sneakers, he flips the scuffed-up LP, plays his two favorite songs on the second side, which happen to sit third and fourth, and are aurally welded together by some distorted synthesizer-esque percussion, maybe ten, fifteen seconds in length. Pierre flops back in his chair, soaks the interlude up. It screeches, whines, bleeps like an orgasming robot.

they called it ‘I Just Hooked Up with Someone in the Bathroom, Don’t Tell Connor.’ They sing it whenever they see me.” His face had gone cold as ice. “Which packs?” She shook her head. She certainly wouldn’t name them, not with that murderous expression on his face. “It doesn’t matter. People are assholes.” It was as simple as that, she’d learned. Most people were assholes, and this city was rife with them. She sometimes wondered what they’d say if they knew about that time two winters ago when someone had sent a thousand printed-out lyric sheets of the song to her new apartment, along with mock album artwork taken from the photos she’d snapped that night. If they knew she had gone up to the roof to burn them all—but instead wound up staring over the ledge. She wondered what would have happened if Juniper, on a whim, hadn’t called just to check in that night. Right as Bryce had braced her hands on the rail. Only that friendly voice on the other end of the line kept Bryce from walking right off the roof.

Give me my Scallop shell of quiet. You know, they did not print the whole of the Indian song in the subway. Only a few lines. But I know the poem. “It’s off in the distance. It came into the room. It’s here in the circle.” I know the poem. She knows the poem

Look at those women over there, Bella. They haven’t ceased staring at me all night. One would think they’d never seen a fictional character come to life before.” “They and everybody else,” Arabella said impatiently. “But not for— Jackie, are you listening to me?” “And that Baron whatever-his-name-is has winked at me six times. Six! Can you imagine? It is positively diverting.” “Jackie, look at me.” Arabella held a cheaply printed broadsheet. “Have you read this? Part III?” “I have. It is a very satisfying finale.” “Satisfying?” “Everybody ends up just as they should,” she forced herself to say. Arabella squeezed her hand. “This is not like you, darling. He hurt you terribly, and I understand that this ending satisfies that hurt. But you cannot like the stone princess’s fate. Do not tell me you have resigned yourself to it.” “I haven’t, of course. She goes willingly, while I—” “Willingly?” Arabella peered at her. “You haven’t read it, have you?” She pressed the page into her palm. Jacqueline cared nothing that at least a dozen pairs of eyes were on her as she uncreased the paper and yet again forced her misery behind the blockade of pride and confidence she had erected. If they must all see her read it to be satisfied she knew the ending— the ending she had written an hour after telling Duke Tarleton that she could not marry him or any other man— then so be it. But as her eyes scanned the words, she did not recognize them. This was not her writing. The king he swore in fury’s rage His daughter would be wed To warlike man through violent force, And chained to mortal bed. The princess wed; her husband learned The secret of the portal. With axe and club he broke it down, Entrapping her as mortal. The Sun Prince knew not this tragic fate; He waited at the feast. ’Midst song and dance he watched for her, Yet found in them no peace. In silv’ry light he stood upon The brook’s clear bank where once With hands entwined they’d spoke of joy, Yet now came still silence. Days passed to weeks, weeks into months. The princess did not come. He called his heartbreak to the stars, Beneath which they had loved. The trees whispered his sorrow’s grief, The Moon in solace shone, But the prince no comfort would he take Now his mortal maid was gone. His beauty waned; the prince grew weak. His golden luster faded. For it was she who’d brought him life; From her his beauty came. O’er song and feast the dark night crept Upon the desolate shore. Then sending forth his final breath, The Sun Prince was no more. Jacqueline blinked, shedding a tear and marring the freshly printed ink. She swiped a finger beneath her lashes. Before her appeared a linen kerchief. The hand that held it was masculine, strong and familiar. She lifted her head. The Earl of Bedwyr knelt before her upon one knee. His hair was tousled, his coat wrinkled, his cravat hastily tied, and his hand extending the linen was unsteady. His dark eyes spoke something she could not readily believe: hope. “Princess.” His voice was rough. “Don’t let me die.” -Jacqueline, Arabella, & Cam

I had loved studying the map because it was a printed explanation of where I had been placed on earth. It was a love song to location, a psalm of praise to both measurement and extent.

Look at those women over there, Bella. They haven’t ceased staring at me all night. One would think they’d never seen a fictional character come to life before.” “They and everybody else,” Arabella said impatiently. “But not for— Jackie, are you listening to me?” “And that Baron whatever-his-name-is has winked at me six times. Six! Can you imagine? It is positively diverting.” “Jackie, look at me.” Arabella held a cheaply printed broadsheet. “Have you read this? Part III?” “I have. It is a very satisfying finale.” “Satisfying?” “Everybody ends up just as they should,” she forced herself to say. Arabella squeezed her hand. “This is not like you, darling. He hurt you terribly, and I understand that this ending satisfies that hurt. But you cannot like the stone princess’s fate. Do not tell me you have resigned yourself to it.” “I haven’t, of course. She goes willingly, while I—” “Willingly?” Arabella peered at her. “You haven’t read it, have you?” She pressed the page into her palm. Jacqueline cared nothing that at least a dozen pairs of eyes were on her as she uncreased the paper and yet again forced her misery behind the blockade of pride and confidence she had erected. If they must all see her read it to be satisfied she knew the ending— the ending she had written an hour after telling Duke Tarleton that she could not marry him or any other man— then so be it. But as her eyes scanned the words, she did not recognize them. This was not her writing. The king he swore in fury’s rage His daughter would be wed To warlike man through violent force, And chained to mortal bed. The princess wed; her husband learned The secret of the portal. With axe and club he broke it down, Entrapping her as mortal. The Sun Prince knew not this tragic fate; He waited at the feast. ’Midst song and dance he watched for her, Yet found in them no peace. In silv’ry light he stood upon The brook’s clear bank where once With hands entwined they’d spoke of joy, Yet now came still silence. Days passed to weeks, weeks into months. The princess did not come. He called his heartbreak to the stars, Beneath which they had loved. The trees whispered his sorrow’s grief, The Moon in solace shone, But the prince no comfort would he take Now his mortal maid was gone. His beauty waned; the prince grew weak. His golden luster faded. For it was she who’d brought him life; From her his beauty came. O’er song and feast the dark night crept Upon the desolate shore. Then sending forth his final breath, The Sun Prince was no more. Jacqueline blinked, shedding a tear and marring the freshly printed ink. She swiped a finger beneath her lashes. Before her appeared a linen kerchief. The hand that held it was masculine, strong and familiar. She lifted her head. The Earl of Bedwyr knelt before her upon one knee. His hair was tousled, his coat wrinkled, his cravat hastily tied, and his hand extending the linen was unsteady. His dark eyes spoke something she could not readily believe: hope. “Princess.” His voice was rough. “Don’t let me die.” -Jacqueline, Arabella, & Cam

... that same hardware and tackle shop his dad got lost in for hours while Kache waited in the truck, writing lyrics on the backs of old envelopes his mom kept in the glove compartment for blotting her lipstick. Kache had written around the red blooms of her lip prints.

The history of the land is a history of blood. In this history, someone wins and someone loses. There are patriots and enemies. Folk heroes who save the day. Vanquished foes who had it coming. It’s all in the telling. The conquered have no voice. Ask the thirty-eight Santee Sioux singing the death song with the nooses around their necks, the treaty signed fair and square, then nullified with a snap of the rope. Ask the slave women forced to bear their masters’ children, to raise and love them and see them sold. Ask the miners slaughtered by the militia in Ludlow. Names are erased. The conqueror tells the story. The colonizer writes the history, winning twice: A theft of land. A theft of witness. Oh, but let’s not speak of such things! Look: Here is an eagle whipping above the vast grasslands where the buffalo once thundered bold as gods. (The buffalo are here among the dead. So many buffalo.) There is the Declaration in sepia. (Signed by slave owners. Shhh, hush up about that, now!) See how the sun shines down upon the homesteaders’ wagons racing toward a precious claim in the nation’s future, the pursuit of happiness pursued without rest, destiny made manifest? (Never mind about those same homesteaders eating the flesh of neighbors. Winters are harsh in this country. Pack a snack.) The history is a hungry history. Its mouth opens wide to consume. It must be fed. Bring me what you would forget, it cries, and I will swallow it whole and pull out the bones bleached of truth upon which you will hang the myths of yourselves. Feed me your pain and I will give you dreams and denial, a balm in Gilead. The land remembers everything, though. It knows the steps of this nation’s ballet of violence and forgetting. The land receives our dead, and the dead sing softly the song of us: blood. Blood on the plains. In the rivers. On the trees where the ropes swing. Blood on the leaves. Blood under the flowers of Gettysburg, of Antioch. Blood on the auction blocks. Blood of the Lenape, the Cherokee, the Cheyenne. Blood of the Alamo. Blood of the Chinese railroad workers. Blood of the midwives hung for witchcraft, for the crime of being women who bleed. Blood of the immigrants fleeing the hopeless, running toward the open arms of the nation’s seductive hope, its greatest export. Blood of the first removed to make way for the cities, the factories, the people and their unbridled dreams: The chugging of the railways. The tapping of the telegram. The humming of industry. Sound burbling along telephone wires. Printing presses whirring with the day’s news. And the next day’s. And the day after that’s. Endless cycles of information. Cities brimming with ambitions used and discarded. The dead hold what the people throw away. The stories sink the tendrils of their hope and sorrow down into the graves and coil around the dead buried there, deep in its womb. All passes away, the dead whisper. Except for us. We, the eternal. Always here. Always listening. Always seeing. One nation, under the earth. E Pluribus unum mortuis. Oh, how we wish we could reach you! You dreamers and schemers! Oh, you children of optimism! You pioneers! You stars and stripes, forever! Sometimes, the dreamers wake as if they have heard. They take to the streets. They pick up the plow, the pen, the banner, the promise. They reach out to neighbors. They reach out to strangers. Backs stooped from a hard day’s labor, two men, one black, one white, share water from a well. They are thirsty and, in this one moment, thirst and work make them brothers. They drink of shared trust, that all men are created equal. They wipe their brows and smile up at a faithful sun.

Seven hells.” He gave the leashes a hard yank to get the dogs’ attention. “Track, you bastards. That’s a bear print. You want some meat or no? Find

Song Renzong, anxious to encourage trade, helped this sensible practice along: sometime early in his reign, a royal office was established in the city of Chengdu to print these receipts in set amounts. The woodblock receipts, circulated through the markets of Song China, served as the world’s first paper money.14

My garden aboundeth in pleasant nooks And fragrance is over it all; For sweet is the smell of my old, old books In their places against the wall. Here is a folio that's grim with age And yellow and green with mould; There's the breath of the sea on every page And the hint of a stanch ship's hold. And here is a treasure from France la belle Exhaleth a faint perfume Of wedded lily and asphodel In a garden of song abloom. And this wee little book of Puritan mien And rude, conspicuous print Hath the Yankee flavor of wintergreen, Or, may be, of peppermint. In Walton the brooks a-babbling tell Where the cheery daisy grows, And where in meadow or woodland dwell The buttercup and the rose. But best beloved of books, I ween, Are those which one perceives Are hallowed by ashes dropped between The yellow, well-thumbed leaves. For it's here a laugh and it's there a tear, Till the treasured book is read; And the ashes betwixt the pages here Tell us of one long dead. But the gracious presence reappears As we read the book again, And the fragrance of precious, distant years Filleth the hearts of men. Come, pluck with me in my garden nooks The posies that bloom for all; Oh, sweet is the smell of my old, old books In their places against the wall!