Rail Path Quotes

. . . hell is wanting to be somewhere different from where you are. Being one place and wanting to be somewhere else . . . . Wanting life to be different from what it is. That's also called leaving without leaving. Dying before you die. It's as if there is a part of you that so rails against being shattered by love that you shatter yourself first. (p. 44)

Swerve me? The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way!

The path to my fixed purpose is laid with iron rails whereon my soul is grooved to run

The Garden En robe de parade. - Samain Like a skein of loose silk blown against a wall She walks by the railing of a path in Kensington Gardens, And she is dying piece-meal of a sort of emotional anaemia. And round about there is a rabble Of the filthy, sturdy, unkillable infants of the very poor. They shall inherit the earth. In her is the end of breeding. Her boredom is exquisite and excessive. She would like some one to speak to her, And is almost afraid that I will commit that indiscretion.

An incomplete list: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take pictures of concert states. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one's hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position – but no, this wasn't true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

Then she understood that what she needed was the motion to a purpose, no matter how small or in what form, the sense of an activity going step by step to some chosen end across a span of time. The work of cooking a meal was like a closed circle, completed and gone, leading nowhere. But the work of building a path was a living sum, so that no day was left to die behind her, but each day contained all those that preceded it, each day acquired its immortality on every succeeding tomorrow. A circle, she thought, is the movement proper to physical nature, they say that there's nothing but circular motion in the inanimate universe around us, but the straight line is the badge of man, the straight line of a geometrical abstraction that makes roads, rails and bridges, the straight line that cuts the curving aimlessness of nature by a purposeful motion from a start to an end. The cooking of meals, she thought, is like the feeding of coal to an engine for the sake of a great run, but what would be the imbecile torture of coaling an engine that had no run to make? It is not proper for man's life to be a circle, she thought, or a string of circles dropping off like zeros behind him--man's life must be a straight line of motion from goal to farther goal, each leading to the next and to a single growing sum, like a journey down the track of a railroad, from station to station to--oh, stop it!

Squatting' in a Smith machine is an oxymoron. A Smith machine is not a squat rack, no matter what the girls at the front desk tell you. A squat cannot be performed on a Smith machine any more than it can be performed in a small closet with a hamster. Sorry. There is a gigantic difference between a machine that makes the bar path vertical for you and a squat that is executed correctly enough to have a vertical bar path. The job of keeping the bar path vertical should be done by the muscles, skeleton, and nervous system, not by grease fittings, rails, and floor bolts.

The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run.

I had walked over to the window and was looking down at the rails of the Montmartre funicular, the gardens of the Sacré Cœur and, further off, the whole of Paris, with its lights, its roofs, its shadows. Denise Coudreuse and I had met one day in this maze of roads and boulevards. Paths that cross, among those of thousands and thousands of people all over Paris, like countless little balls on a gigantic, electric billiard table, which occasionally bump into each other. And nothing remained of this, not even the luminous trail a firefly leaves behind it.

«She sat at the bow of a pleasure craft a stone's throw away, under the shade of a white parasol, a diligent tourist out to reap all the beauty and charm Copenhagen had to offer. She studied him with a distressed concentration, as if she couldn't quite remember who he was. As if she didn't want to. He looked different. His hair reached down to his nape, and he'd sported a full beard for the past two years. Their eyes met. She bolted upright from the chair. The parasol fell from her hand, clanking against the deck. She stared at him, her face pale, her gaze haunted. He'd never seen her like this, not even on the day he left her. She was stunned, her composure flayed, her vulnerability visible for miles. As her boat glided past him, she picked up her skirts and ran along the port rail, her eyes never leaving his. She stumbled over a line in her path and fell hard. His heart clenched in alarm, but she barely noticed, scrambling to her feet. She kept running until she was at the stern and could not move another inch closer to him (…) Gigi didn't move from her rigid pose at the rail, but she suddenly looked worn down, as if she'd been standing there, in that same spot, for all the eighteen hundred and some days since she'd last seen him. She still loved him. The thought echoed wildly in his head, making him hot and dizzy. She still loved him.»

Swerve me? ye cannot swerve me, else ye swerve yourselves! man has ye there. Swerve me? The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way!

The path to my fixed purpose is laid with iron rails, wheron my soul is grooved to run.

The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run

There was a time when wen we did not form all our words as we do now, in writing on a page. There was a time when the word "&" was written with several distinct & separate letters. It seems madness now. But there it is, & there is nothing we can do about it. Humanity learned to ride the rails, & that motion made us what we are, a ferromaritime people. The lines of the railsea go everywhere but from one place straight to another. It is always switchback, junction, coils around & over our own train-trails. What word better could there be to symbolize the railsea that connects & separates all lands, than “&” itself? Where else does the railsea take us, but to one place & that one & that one & that one, & so on? & what better embodies, in the sweep of the pen, the recurved motion of trains, than “&”? An efficient route from where we start to where we end would make the word the tiniest line. But it takes a veering route, up & backwards, overshooting & correcting, back down again south & west, crossing its own earlier path, changing direction, another overlap, to stop, finally, a few hairs’ width from where we began. & tacks & yaws, switches on its way to where it’s going, as we all must do.

In truth, there were no tracks of destiny through the chaos of life, only paths forged by decisions. She had dreamed of riding a fast train to stardom, but the rails and ties of those tracks had never been carefully laid.

Hunger for Christ keeps us talking to God till our separation is swallowed up in our unending togetherness with him. Till this union is complete, he who keeps our prayers awaits our union. After all, God hungers for union with us even more than we desire union with him. And prayer is the rails on which our two desires move toward each other. Our devotion moves us from separateness into oneness with God, and the resulting joy is worth the journey.

The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way!

What force had buttercups and earthworms and cabbages against the need of human beings for dwelling places, against developers’ chances to make money? Alive as a strange creature in an aquarium, the city stretched out its tentacles, grew and swelled, gobbling the pastures and hedgerows that lay in its path. Fields were bought, and new rows of houses built, and then the process repeated. Teams of workmen dug up hedges, filled in ponds and streams, put up neat streets of flat-fronted brick dwellings with steps and railings.

From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) trapshooting looks comparatively easy, because now the stocky older guy who's replaced the trim bearded guy at the rail is also blowing these little fluorescent plates away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir's wake; (c) a clay pigeon, when shot, undergoes a frighteningly familiar-looking midflight peripeteia -- erupting material, changing vector, and plummeting seaward in a corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster. All the shooters who precede me seem to fire with a kind of casual scorn, and all get eight out of ten or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are L. L. Bean-model-type brothers who spend weeks every year hunting various fast-flying species with their "Papa" in southern Canada, and the last has got not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own trapshooting range in his backyard (31) in North Carolina. When it's finally my turn, the earmuffs they give me have somebody else's ear-oil on them and don't fit my head very well. The gun itself is shockingly heavy and stinks of what I'm told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek NCOs seem extremely bored. I am handed the heavy gun and told to "be bracing a hip" against the aft rail and then to place the stock of the weapon against, no, not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm. (My initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.) Let's not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own trapshooting score was noticeably lower than the other entrants' scores, then simply make a few disinterested observations for the benefit of any novice contemplating trapshooting from a 7NC Megaship, and then we'll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips. (2) A lot of the advice in (1) boils down to exhortations to "lead" the launched pigeon, but nobody explains whether this means that the gun's barrel should move across the sky with the pigeon or should instead sort of lie in static ambush along some point in the pigeon's projected path. (3) Whatever a "hair trigger" is, a shotgun does not have one. (4) If you've never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (5) The well-known "kick" of a fired shotgun is no misnomer; it knocks you back several steps with your arms pinwheeling wildly for balance, which when you're holding a still-loaded gun results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above. Finally, (6), know that an unshot discus's movement against the vast lapis lazuli dome of the open ocean's sky is sun-like -- i.e., orange and parabolic and right-to-left -- and that its disappearance into the sea is edge-first and splashless and sad.

Routine and habit are our everyday life. Some are aware of their habits, others are not. If one becomes aware of habits—the repetitious movement of the hand or of the mind—one can put an end to them with comparative ease. But what is important in all this is to understand, not intellectually, the mechanism of habit-forming which gradually destroys or blunts all feeling. The fear of change strengthens habit, not only physically but also in the very brain cells themselves. So having once become established in a routine, we keep going, like a tramcar along its rails. We take things for granted in all relationships, and this is one of the major factors of insensitivity. So habit becomes a natural thing. Then we say: why should one pay attention to these things that one does every day? And so inattention cultivates habit; and then we are caught. Then the problem begins of how to be free of habit. And then there is conflict. And thus conflict becomes the way of life we accept naturally!

Slowly, fresh sunbeams poured into the emerald canyon, illuminating their narrow path between the rusted rails. Because of the din of the waking jungle, they did not hear the sound of several feet sliding down the tapered trunks of the giant lauan trees towering several hundred feet above their heads and silently scampering into the undergrowth.

I laugh and hoot at ye, ye cricket-players, ye pugilists, ye deaf Burkes and blinded Bendigoes! I will not say as schoolboys do to bullies—Take some one of your own size; don't pommel me! No, ye've knocked me down, and I am up again; but ye have run and hidden. Come forth from behind your cotton bags! I have no long gun to reach ye. Come, Ahab's compliments to ye; come and see if ye can swerve me. Swerve me? ye cannot swerve me, else ye swerve yourselves! man has ye there. Swerve me? The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way!

I'm demoniac, I am madness maddened! That wild madness that's only calm to comprehend itself! The prophecy was that I should be dismembered; and—Aye! I lost this leg. I now prophesy that I will dismember my dismemberer. Now, then, be the prophet and the fulfiller one. That's more than ye, ye great gods, ever were. I laugh and hoot at ye, ye cricket-players, ye pugilists, ye deaf Burkes and blinded Bendigoes! I will not say as school-boys do to bullies,—Take some one of your own size; don't pommel me! No, ye've knocked me down, and I am up again; but ye have run and hidden. Come forth from behind your cotton bags! I have no long gun to reach ye. Come, Ahab's compliments to ye; come and see if ye can swerve me. Swerve me? ye cannot swerve me, else ye swerve yourselves! man has ye there. Swerve me? The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way!

Kestrel listened to the slap of waves against the ship, the cries of struggle and death. She remembered how her heart, so tight, like a scroll, had opened when Arin kissed her. It had unfurled. If her heart were truly a scroll, she could burn it. It would become a tunnel of flame, a handful of ash. The secrets she had written inside herself would be gone. No one would know. Her father would choose the water for Kestrel if he knew. Yet she couldn’t. In the end, it wasn’t cunning that kept her from jumping, or determination. It was a glassy fear. She didn’t want to die. Arin was right. She played a game until its end. Suddenly, Kestrel heard his voice. She opened her eyes. He was shouting. He was shouting her name. He was barreling past people, driving a path between the mainmast and the railing alongside the launch. Kestrel saw the horror in him mirror what she had felt when facing the water. Kestrel gathered the strength in her legs and jumped onto the deck. Her feet hit the planks, the force of movement toppling her. But she had learned from fighting Rax how to protect her hands. She tucked them to her, pressed the hard knots of her bonds against her chest, fell shoulder first, and rolled. Arin hauled her to her feet. And even though he had seen her choice, must have seen it still blazing on her face, he shook her. He kept saying the words he had been shouting as he had neared the railing. “Don’t, Kestrel. Don’t.” His hands cradled her face. “Don’t touch me,” she said. Arin’s hands fell. “Gods,” he said hoarsely. “Yes, it would be rather unfortunate for you, wouldn’t it, if you lost your little bargaining chip against the general? Never fear.” She smiled a brittle smile. “It turns out that I am a coward.” Arin shook his head. “It’s harder to live.

AN INCOMPLETE LIST: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take photographs of concert stages. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one’s hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position—but no, this wasn’t true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

BECAUSE THIS MONEY came from Texas, the rise of Lyndon Johnson sheds light on the new economic forces that surged out of the Southwest in the middle of the twentieth century, on the immense influence exerted over America’s politics, its governmental institutions, its foreign and domestic policies by these forces: the oil and sulphur and gas and defense barons of the Southwest. As the robber barons of the last century looted the nation’s earth of its wealth—its coal and coke, its oil and ore, its iron, its forests, the very surface of its earth to provide a footing for the rails of their railroads—and used part of that wealth to ensure that the nation’s government would not force them to give more than a pittance of their loot back to the nation’s people, so the robber barons of this century have drained the earth of the Southwest of its riches and have used those riches to bend government to their ends.

The cabin; by the stern windows; Ahab sitting alone, and gazing out. I leave a white and turbid wake; pale waters, paler cheeks, where'er I sail. The envious billows sidelong swell to whelm my track; let them; but first I pass. Yonder, by the ever-brimming goblet's rim, the warm waves blush like wine. The gold brow plumbs the blue. The diver sun— slow dived from noon—goes down; my soul mounts up! she wearies with her endless hill. Is, then, the crown too heavy that I wear? this Iron Crown of Lombardy. Yet is it bright with many a gem; I the wearer, see not its far flashings; but darkly feel that I wear that, that dazzlingly confounds. 'Tis iron—that I know—not gold. 'Tis split, too—that I feel; the jagged edge galls me so, my brain seems to beat against the solid metal; aye, steel skull, mine; the sort that needs no helmet in the most brain-battering fight! Dry heat upon my brow? Oh! time was, when as the sunrise nobly spurred me, so the sunset soothed. No more. This lovely light, it lights not me; all loveliness is anguish to me, since I can ne'er enjoy. Gifted with the high perception, I lack the low, enjoying power; damned, most subtly and most malignantly! damned in the midst of Paradise! Good night—good night! (waving his hand, he moves from the window.) 'Twas not so hard a task. I thought to find one stubborn, at the least; but my one cogged circle fits into all their various wheels, and they revolve. Or, if you will, like so many ant-hills of powder, they all stand before me; and I their match. Oh, hard! that to fire others, the match itself must needs be wasting! What I've dared, I've willed; and what I've willed, I'll do! They think me mad— Starbuck does; but I'm demoniac, I am madness maddened! That wild madness that's only calm to comprehend itself! The prophecy was that I should be dismembered; and—Aye! I lost this leg. I now prophesy that I will dismember my dismemberer. Now, then, be the prophet and the fulfiller one. That's more than ye, ye great gods, ever were. I laugh and hoot at ye, ye cricket-players, ye pugilists, ye deaf Burkes and blinded Bendigoes! I will not say as schoolboys do to bullies—Take some one of your own size; don't pommel me! No, ye've knocked me down, and I am up again; but ye have run and hidden. Come forth from behind your cotton bags! I have no long gun to reach ye. Come, Ahab's compliments to ye; come and see if ye can swerve me. Swerve me? ye cannot swerve me, else ye swerve yourselves! man has ye there. Swerve me? The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way! CHAPTER

The moon: in that luminous face one can behold those tired phases that bring only disappointment and no satisfaction; the impulses governing its expression remain patternistic, its cycles of transition easily predictable. With moderated temperament it commands the capricious sea: its diametric opponent, in whose helpless defiance, arises an empty, albeit elegant promise, an ever-changing flicker of reflected light, a simultaneous opening and closing of paths to be traversed, a vacillating hope and disillusionment in whose unsettling direction emerges something one might wish to call, even under the hardened visage of sky, a marginal sense of freedom. To walk upon the decks of ramshackle vessels rising and descending in patterns indeterminate, to lean in ecstasy over their shaky rails to witness the splendor of that which transforms immediately upon being witnessed and which transforms thereby the witness in question: it was these flights of reverie that appealed better to one’s imagination than the lean pragmatism of predictable transition.

Q: I don’t really know what it means to live beautifully. In fact, I really know nothing except a few mechanical things connected with my job; I see by talking to you that my life is pretty dull, or rather my mind is. So how can I wake up to this sensitivity, to this intelligence that makes life extremely beautiful to you? Krishnamurti: First one has to sharpen the senses by looking, touching, observing, listening not only to the birds, to the rustle of the leaves, but also to the words that you use yourself, the feeling you have – however small and petty – for all the secret intimations of your own mind. Listen to them and don’t suppress them, don’t control them or try to sublimate them. Just listen to them. The sensitivity to the senses doesn’t mean their indulgence, doesn’t mean yielding to urges or resisting those urges, but means simply observing so that the mind is always watchful as when you walk on a railway line; you may lose your balance but you immediately get back on to the rail. So the whole organism becomes alive, sensitive, intelligent, balanced, taut.

I rail a lot against passion, because I feel like passion can be very exclusionary, and very elitist, and it can leave a lot of people feeling like they don't belong... I'm much more interested in allowing people to follow curiosity, which is a much more gentle impulse that doesn't require that you sacrifice your entire life for something. It's more of kind of a scavenger hunt, where you're allowed to pick up these tiny beautiful little clues along the pathway. It's more of a tap on the shoulder that asks you to turn your attention one inch to the left. Oh that's a little bit mildly interesting - what is that? Okay now I'm going to take that clue... I'm going to take it another inch, and I'm going to take it another inch. Rather than this idea that the symphony is born whole, because you sit down and you're struck by lightening and then you start to create. Curiosity I think, is a far more friendly way to do creativity than passion." ...this is why I say the path of curiosity is the scavenger hunt, because it took my probably three years between "gee it would be nice to put some plants in my backyard" to here I am in the South Pacific exploring the history of moss and inventing this giant novel. You know I think everybody thinks that creativity comes in lightening strikes, but I think it comes with whispers. And then the whispers can grow thunderous over time if you are patient enough to explore it, almost in the way that a scientist would. Be open to - you don't need to know why you are interested in this, it will be revealed if you continue to investigate. That's all that curiosity asks of you. Passion asks you to throw it all in the bonfire. And curiosity is way more generous in that it just says - give me a little bit of your time and let's see what we can do. Fear is part of our make-up, it's something that's inherent in us, it's a protective device. My experience with fear is to permit it to exist and then to figure out how to work with it. And to me working with fear is what courage is. I've never started any project that I wasn't afraid... during the entire thing.And the conversation that I have with fear is not to say you are the death of creativity and I can't be creative because you exist, but rather to say: "You are part of the family of my consciousness. You are one of the emotions that I possess and I hear your complaint. I see your anxiety and I see everything you are putting before me about how this is going to be a disaster, and how I'm going to die and how everyone's going to mock me and how I'm going to fail... and I thank you so much for your contribution, but your sister creativity and I are going to go off on this journey now and do this thing but you are allowed to be in the car. We're going on a road trip, but I don't expect you to not come." And once you allow fear to just be present it seems to quiet down and go to sleep and then you can go about your work. But it's never out of the picture and I don't waste my energy trying to kick it out of the picture because that feels to me just like a colossal exhausting waste of energy. Whereas a radical kind of inclusive self acceptance seems to be a way to create a lot more.

It takes me a while to figure out a plan, how to go about this. If she was a normal Dauntless girl and I was a normal Dauntless boy, I would ask her on a date and we would make out by the chasm and I might show off my knowledge of Dauntless headquarters. But that feels too ordinary, after the things we’ve said to each other, after I’ve seen into the darkest parts of her mind. Maybe that’s the problem--it’s all one-sided right now, because I know her, I know what she’s afraid of and what she loves and what she hates, but all she knows about me is what I’ve told her. And what I’ve told her is so vague as to be negligible, because I have a problem with specificity. After that I know what to do, it’s just the doing it that’s the problem. I turn on the computer in the fear landscape room and set it to follow my program. I get two syringes of simulation serum from the storeroom, and put them in the little black box I have for this purpose. Then I set out for the transfer dormitory, not sure how I’ll get her alone long enough to ask her to come with me. But then I see her with Will and Christina, standing by the railing, and I should call her name and ask her, but I can’t do it. Am I crazy, thinking of letting her into my head? Letting her see Marcus, learn my name, know everything I’ve tried so hard to keep hidden? I start up the paths of the Pit again, my stomach churning. I reach the lobby, and the city lights are starting to go out all around us. I hear her footsteps on the stairs. She came after me.

I turn on the computer in the fear landscape room and set it to follow my program. I get two syringes of simulation serum from the storeroom, and put them in the little black box I have for this purpose. Then I set out for the transfer dormitory, not sure how I’ll get her alone long enough to ask her to come with me. But then I see her with Will and Christina, standing by the railing, and I should call her name and ask her, but I can’t do it. Am I crazy, thinking of letting her into my head? Letting her see Marcus, learn my name, know everything I’ve tried so hard to keep hidden? I start up the paths of the Pit again, my stomach churning. I reach the lobby, and the city lights are starting to go out all around us. I hear her footsteps on the stairs. She came after me. I turn the black box in my hand. “Since you’re here,” I say, like it’s casual, which is ridiculous, “you might as well go in with me.

Outside, Ambo slogs through snow ankle-deep, making bloody tracks down the graded yard toward the box truck. Scanning the roundabout below, where the dirt utility road spills from the wood into the clearing. No movement. Nothing on approach. Only the snow that contours the turnabout, shaping itself against the trunks of the surrounding glade. Near the split-rail fence at the end of the back yard, Ambo stops and places the cooler at his feet. He lays the shotgun in a wide drift beside the last stile, working it in with his hands, using the snow to scour off the worst of the gore. The slush reddened like a confection. When he finishes, he puts the cooler under his arm, shoulders the weapon and continues the descent. His hands numb. The truck is ahead, blanketed from nose to tail, the drifts reaching halfway into the wheel wells. When Ambo reaches the cargo bay, he glances back over his shoulder. The red house, a cornice of snow gathered on the eaves. The red tracks—his own footprints—leading away. A red imprint roughed out in the shape of a gun on the side of the path.

Why am I getting so worked up over this? Because I like him and I feel like he’s telling me, in code, that I’m not worth his time. That starting something with me would be a mistake. I’m officially giving up being logical about this. He should too. I already know it’s going to suck saying good-bye, so he should kiss me and at least give me a tingly memory to take back with me. “I might be different.” I clench my teeth when I realize I said that out loud, keeping myself from saying any more. “Pippa.” He breathes a sigh, eyes looking everywhere but at me. “You are different.” I slowly turn toward him on the bench, pleading with my eyes for him to look at me. Footsteps crunching gravel behind me rob me of my daydream, and an older couple approaches the metal railing near the cliff edge. The tired-looking woman glances back at the bench with longing. “You can sit here,” Darren says to her. He clasps my hand, sending a current up my arm to my chest. “We were just leaving.” He leads me back down the path and for the brief moment he keeps hold of my hand, it’s the only thing anchoring me to the ground.

He shaded his brow against the sun. Up on the plateau, he could see the distinct silhouette of a white woman on a horse. As he walked up the path between the lodges, the breeze caught her hair and lifted it. Gold glinted in the sunshine. Hunter’s throat tightened. He nearly tripped over Blackbird, who danced excitedly about his feet as he walked. A mixture of gladness and dread filled him, one emotion as powerful as the other. His little blue-eyes had come to him, just as the prophecy foretold. He couldn’t help but wonder if it would not also come to pass that he would one day leave the People. Numbly placing one foot before the other, Hunter strode to the edge of the village and stared up at the plateau. Even at a distance he recognized the way she sat a horse, the tilt of her head. He couldn’t believe she had come so far and so quickly. Fate had indeed led her in a circle back to him. Ordering Blackbird back to his mother’s lodge, Hunter increased his pace, the dread of leaving his people forgotten. Destiny. A month ago he had railed against it. Now he wasn’t certain how he felt. Resentful, yet pleased. And relieved. Deep in the quiet places of his heart, he sensed the rightness. Fate. Today it had brought him a woman, a woman like no other, with skin as white as a night moon, hair like honey, and eyes like the summer sky. His woman, and this time she came freely.

Rules of faith and creeds are like the guard rails on the side of the highway, which prevent you from skidding off into the path of oncoming traffic. They do not themselves tell you everything you need to know about your journey and destination, nor do they put fresh gas in your tank. Only the scriptural message about God’s kingdom in Jesus Christ will do that.

Jewel and I come up from the field, following the path in single file. Although I am fifteen feet ahead of him, anyone watching us from the cottonhouse can see Jewel’s frayed and broken straw hat a full head above my own. The path runs straight as a plumb-line, worn smooth by feet and baked brick-hard by July, between the green rows of laidby cotton, to the cottonhouse in the center of the field, where it turns and circles the cottonhouse at four soft right angles and goes on across the field again, worn so by feet in fading precision. The cottonhouse is of rough logs, from between which the chinking has long fallen. Square, with a broken roof set at a single pitch, it leans in empty and shimmering dilapidation in the sunlight, a single broad window in two opposite walls giving onto the approaches of the path. When we reach it I turn and follow the path which circles the house. Jewel, fifteen feet behind me, looking straight ahead, steps in a single stride through the window. Still staring straight ahead, his pale eyes like wood set into his wooden face, he crosses the floor in four strides with the rigid gravity of a cigar store Indian dressed in patched overalls and endued with life from the hips down, and steps in a single stride through the opposite window and into the path again just as I come around the corner. In single file and five feet apart and Jewel now in front, we go on up the path toward the foot of the bluff. Tull’s wagon stands beside the spring, hitched to the rail, the reins wrapped about the seat stanchion. In the wagon bed are two chairs. Jewel stops at the spring and takes the gourd from the willow branch and drinks. I pass him and mount the path, beginning to hear Cash’s saw. When I reach the top he has quit sawing. Standing in a litter of chips, he is fitting two of the boards together. Between the shadow spaces they are yellow as gold, like soft gold, bearing on their flanks in smooth undulations the marks of the adze blade: a good carpenter, Cash is. He holds the two planks on the trestle, fitted along the edges in a quarter of the finished box. He kneels and squints along the edge of them, then he lowers them and takes up the adze. A good carpenter. Addie Bundren could not want a better one, a better box to lie in. It will give her confidence and comfort. I go on to the house, followed by the                                     Chuck.   Chuck.   Chuck.of the adze.

God's journey for us is like that of a train. While we ride upon its mode of transport, we move from one box car to the next, phases or seasons of our life. We feel as if the train is our journey but the real path is actually the rails upon which the train travels; the heart of where God's direction for us exists. Each car of the train is just a small part of the greater whole to which we, in our finite understanding, is incomprehensible.

God's journey for us is like that of a train. While we ride upon its mode of transport, we move from one box car to the next, phases or seasons of our life. We feel as if the train is our journey but the real path is actually the rails upon which the train travels; the heart of where God's direction for us exists. Each car of the train is just a small part of the greater whole to which we, in our finite understanding, find incomprehensible.

How do you slow the descent? You can use your regulated pathway and add details to safeguard your journey. You might want resting places along the path, a railing or handholds, more stopping points in an elevator, or more shades of color in a light stream. Sometimes the path through protection is totally different from the path through regulation.

Their owners returned to Philadelphia each fall, leaving the resort a ghost town. Samuel Richards realized that mass-oriented facilities had to be developed before Atlantic City could become a major resort and a permanent community. From Richards’ perspective, more working-class visitors from Philadelphia were needed to spur growth. These visitors would only come if railroad fares cost less. For several years Samuel Richards tried, without success, to sell his ideas to the other shareholders of the Camden-Atlantic Railroad. He believed that greater profits could be made by reducing fares, which would increase the volume of patrons. A majority of the board of directors disagreed. Finally in 1875, Richards lost patience with his fellow directors. Together with three allies, Richards resigned from the board of directors of the Camden-Atlantic Railroad and formed a second railway company of his own. Richards’ railroad was to be an efficient and cheaper narrow gauge line. The roadbed for the narrow gauge was easier to build than that of the first railroad. It had a 3½-foot gauge instead of the standard 4 feet 8½ inches, so labor and material would cost less. The prospect of a second railroad into Atlantic City divided the town. Jonathan Pitney had died six years earlier, but his dream of an exclusive watering hole persisted. Many didn’t want to see the type of development that Samuel Richards was encouraging, nor did they want to rub elbows with the working class of Philadelphia. A heated debate raged for months. Most of the residents were content with their island remaining a sleepy little beach village and wanted nothing to do with Philadelphia’s blue-collar tourists. But their opinions were irrelevant to Samuel Richards. As he had done 24 years earlier, Richards went to the state legislature and obtained another railroad charter. The Philadelphia-Atlantic City Railway Company was chartered in March 1876. The directors of the Camden-Atlantic were bitter at the loss of their monopoly and put every possible obstacle in Richards’ path. When he began construction in April 1877—simultaneously from both ends—the Camden-Atlantic directors refused to allow the construction machinery to be transported over its tracks or its cars to be used for shipment of supplies. The Baldwin Locomotive Works was forced to send its construction engine by water, around Cape May and up the seacoast; railroad ties were brought in by ships from Baltimore. Richards permitted nothing to stand in his way. He was determined to have his train running that summer. Construction was at a fever pitch, with crews of laborers working double shifts seven days a week. Fifty-four miles of railroad were completed in just 90 days. With the exception of rail lines built during a war, there had never been a railroad constructed at such speed. The first train of the Philadelphia-Atlantic City Railway Company arrived in the resort on July 7, 1877. Prior to Richards’ railroad,

Train switches are not just on the train tracks, they are in your life too, they are on every inch of the roads you travel! Just decide to use the switches on your rails and your path will change immediately!

So Elena goes out. Can you see her? Over there, on the path by the fence made of wire and disoriented wooden rails. Now in the shadows of the juniper, now coming into the light. There.

She couldn’t find words. Her mouth didn’t want to move, when if she tried to say what she was feeling she’d just find a way to poison it, and she couldn’t stand to ruin this moment when it trembled so delicate and fragile and perfect. So she only turned away, wrapping her arms around herself as she drifted to the railing and looked out over the night, and imagined she could find just one special firefly and follow its path through all the others.

These trans are driven, I thought, like the mind, by electric current, and at once I was imagining all the pylons and the wires running down the valley, creating a path, a network, that was separate from the landscape so that we could pass through it at great speed, as thoughts also hurtle by so fast but are rarely in contact with reality. The mind likes to move on rails, I decided after a couple of days in Maroggia, always the same old reflections and anxieties and obsessions, one leading to the other with great predictability. The same switches, the same buffers and terminuses that you never get beyond.

You’ve stayed true to who you are, never letting anyone believe otherwise or leading anyone on. If you’re happy with your path, continue on along it. You know we’ll support you.” “I’m not leading him on,” Kerry said softly. “Am I, Han? I mean, I’ve been honest with him. But at the same time, I’m here, spending time with him, giving him the chance to change my mind.” “Can he?” “I don’t know.” Hannah lifted her head, waited until Kerry looked up at her. “Do you want him to?” Kerry didn’t think or analyze; she simply gave her instinctive, gut response. And nodded. “Yes. I think I do.” Hannah grinned, seeming surprised but happy. Truly happy. “Well, then, good.” She squeezed Kerry’s shoulders. “Good.” Kerry groaned. “I should never have answered you.” “Yes, you should have. Maybe it’s the only way you’ll hear it, to hear yourself say it out loud like that. At least now I know you see what we all see.” “Which is what?” Kerry asked warily, straightening away from her sister and leaning once again on the fence rail. “That he makes you happy.” She lifted a hand to stall Kerry’s reply. “Maybe not for all eternity, but then, none of us can know that about anyone. What’s important to recognize is that he makes you happy now. So live in that space for a bit. Try it on, wear it around town. Sleep with it at night,” she added with a little twinkle. “Who knows, maybe in a few weeks the idea of heading back out into the world alone won’t look so appealing to you.

and from her heart there runs a cold sad feeling that says she is going to die, she opens her eyes and knows she has crossed a border of some kind, wet light on the asphalt and rusting green on the railing that runs in unity along the path to the shops and she knows she is lying not against the road but against something endmost and is astonished by her calm, death is waiting and she was not prepared, death stood before her in brazen signal and she did not look but ran into its arms without thinking of her children, and it is grief that seizes hold of her when she sees her children abandoned, seeing how she was told and did not listen, it was your duty to deliver them from danger but instead you stood your ground, such foolishness and blindness before the facts, you should have got them out, hearing the words her father gave in warning again and again, to leave the country and make a better life, seeing the missed opportunities grow before her and how they could have escaped, all of it dust, all of it a nothingness in a false past and she sees herself in a hole in the earth and she sees the best parts of her love, sees how one thing gives to another thing and how her life has been consumed by some law of force that governs all and she is nothing within it but a speck of dust,

Grace, my brethren, deserves our praise, since it does so much for its object. Grace does not choose a man and leave him as he is. My brethren and sisters, men rail at grace sometimes as though it were opposed to morality, whereas it is the great source and cause of all complete morality — indeed, there is no real holiness in the sight of God except that which grace creates, and which grace sustains. This woman, apart from grace, had remained black and defiled still to her dying day, but the grace of God wrought a wondrous transformation, removing the impudence of her face, the flattery from her lips, the finery from her dress, and the lust from her heart. Eyes which were full of adultery, were now founts of repentance; lips which were doors of lascivious speech, now yield holy kisses — the profligate was a penitent, the castaway a new creature. All the actions which are attributed to this woman illustrate the transforming power of divine grace. She exhibited the deepest repentance. She wept abundantly. She wept out of no mere sentimentalism, but at the remembrance of her many crimes. She wept for sorrow and for shame as she thought over her early childhood, and how she had slighted a mother’s training, how she had listened to the tempter’s voice, and hurried on from bad to worse. Every part of her life-story would rise before her as a painfully vivid dream. The sight of those blessed feet helped her to remember the dangerous paths into which she had wandered; the sluices of grief were drawn up, and her soul flowed out in tears. O blessed Spirit of grace, we adore thee as we see the rock smitten and the waters gushing. “He causeth his wind to blow and the waters flow.

Larger mines with direct access to the surface had long been laid with wooden rails to make coal and ore carts easier to move; moving a cart on rails required about one-sixth the effort needed to haul a sled or a cart on a dirt path.38 Moving coal to water on such rails—wagonways, they were called—would save money, time, and wear and tear. The earliest known English wagonway dates from 1604.

But there is something to shake even that one, to shake us all as surely as if the ground beneath our feet began to tremble and break away. Change. In any honest analysis, change is the basis of fear, the idea of something new, of some paradigm that is unfamiliar, that is beyond our experiences so completely that we cannot even truly predict where it will lead us. Change. Uncertainty. It is the very root of our most primal fear—the fear of death—that one change, that one unknown against which we construct elaborate scenarios and “truisms” that may or may not be true at all. These constructions, I think, are an extension of the routines of our lives. We dig ruts with the sameness of our daily paths, and drone and rail against those routines while we, in fact, take comfort in them. We awake and construct our days of habit, and follow the norms we have built fast, solid, and bending only a bit in our daily existence. Change is the unrolled die, the unused sava piece. It is exciting and frightening only when we hold some power over it, only when there is a potential reversal of course, difficult though it may be, within our control. Absent that safety line of real choice, absent that sense of some control, change is merely frightening. Terrifying, even.

We think that our struggles today are known only to us, but they are timeless, and those who lived long before us faced the same internal struggles that we do. There is a story, many centuries old, that describes these struggles. The story is about a chariot rider who steps onto a Roman-style chariot drawn by four horses. In this story, the horses represent the mind. The driver, who has an undisciplined mind, steps onto the chariot but has no hold on the reigns. The four horses run wild all day, exhausting themselves and the driver as they bump along off the chosen path, constantly changing directions. They do not know where they are or where they are going at any given moment. The driver holds on to the railings and is just as helpless as the horses as they all watch the scenery go by. In contrast, a disciplined driver, who has the reins in his hand, is in control and directs the horse down the focused, chosen path, wherever it might be. The horses now have no will. Their energy is directed by the refined commands of the disciplined driver. The ride is smooth, and they all reach their desired destination in the least amount of time, with the least amount of effort and fatigue. Which would you rather be?

He continued as the storm blew over, feeling the same feeling growing greater in the center of his mind and forethought until, at last, something stood out. It was a silver spire standing upon a black rock that stuck out of the trees and into the sky. The center point of the spire was struck by multiple strikes of lightning and seemed to arc down to the ground. But the arcs were blue, a strange color, and as he drew closer, he not only felt stronger but could see beyond his normal sight. As he made his way toward this place, he noticed glowing stones on small pillars of stone that floated above the ground. The road ahead crept up like a fallen tree timber, the rocks and railings crumbled, but still, it was a path. As he came closer to the spire, he noticed more floating orbs floating just above the ground. Beneath the orbs

Warden Høidal and I walk outdoors on a winding path that leads us into a modern building that is one of the living units. It’s silent. During my visits to Northern, I’d made notes, trying to capture the feel of the place. Looking back through those notes, I saw that the noise was a theme to which I’d subconsciously returned over and over again. Floors, walls, ceilings all concrete. Doors are metal. Railings metal. There is nothing to absorb sound—it reverberates, echoes, expands. There is constant slamming. Whenever someone speaks to me, I have to strain to understand what they are saying. The staff that works here doesn’t seem to notice. From a second visit: Doors slam. There is yelling out. The walls are concrete and cinder block. It is cold, loud, jarring. Every noise echoes, a harsh reverberation. A third: The noise is unbelievable. I’m trying to think of the loudest places I’ve been. Concerts. Sporting events. Airfields. This is loud of a different quality. It jars. It obscures and obfuscates. I can’t hear what’s being said to me. There is yelling, but the words are indistinguishable. Or there is no yelling but inmates on their work duty from other facilities rumble carts

His path was in some ways traditional—Stanford to Stanford Law to judicial clerkship to high-powered law firm—but it was also marked by bouts of rebellion. At Stanford he created and published a radical conservative journal called The Stanford Review, then he wrote a book that railed against multiculturalism and “militant homosexuals” on campus, despite being both gay and foreign born. His friends thought he might become a political pundit. Instead he became a lawyer. Then one day, surprising even himself, he walked out of one of the most prestigious securities law firms in the world, Sullivan & Cromwell, after seven months and three days on the job. Within a few short years, Thiel formed and then sold PayPal, an online payments company, to eBay for $ 1.5 billion in July 2002, the month that Nick Denton registered the domain for his first site, Gizmodo. With proceeds of some $ 55 million, Thiel assembled an empire. He retooled a hedge fund called Clarium into a vehicle to make large, counterintuitive bets on global macro trends, seeding it with $ 10 million of his own money. In 2003, Thiel registered a company called Palantir with the Securities and Exchange Commission. In 2004, he would found it in earnest. The company would take antifraud technology from PayPal and apply it to intelligence gathering—fighting terrorism, predicting crime, providing military insights. It would take money from the venture capital arm of the CIA and soon take on almost every other arm of the government as clients.

All the talk of regret. They make you form your life around one thing, the thing you did, and you have to grow yourself from what cannot be undone: they want you to make something from nothing. They make you hate them and yourself. They make it seem that they are the world, and you've betrayed it, them, but the world is so much bigger. The lie of regret and of life gone off the rails. What rails. The life is the rails. It is its own rails and it goes where it goes. It cuts its own path. My path took me here.

When I die, I’ll come back             an oakleaf hydrangea— Something bigger             than I was when we began. When you die             I want you to be a boy so I can take you in             on some decrepit path pretending the wind running through             somehow belongs to you. When you bury me             watch out: I’ll spread. And you’ll recognize my autumnal red             psychic flames burning near your split rail fence.             I was what you chose to plant to absorb the emptiness             left from other things. Tasha Cotter, “Hydrangea,” Dialogist: Quartertly Poetry & Art (v.1, no. 3)

Although Stephenson began to manufacture steam locomotives in steady numbers after Blucher and My Lord had demonstrated their utility, railway infrastructure continued to limit development. Early-nineteenth-century cast iron was far more impure and brittle than cast iron is today and often broke under the weight of heavy steam engines. Consequently, rail sections had to be short, about three feet, which in turn introduced numerous unstable joints. Allowing for a horse path between rails—as late as 1828, Stephenson’s first major British railway still hauled 43 percent of its tonnage with horses—meant that rails had to be supported on stone blocks rather than connected with crossties, making it difficult to keep them aligned.35 Cast-iron rails, despite their limitations, met a characteristic requirement of new technology: lower cost. Haulage by rail cost less than by packhorse or horse cart.