Rain Picture Quotes

I want you to tell me about every person you’ve ever been in love with. Tell me why you loved them, then tell me why they loved you. Tell me about a day in your life you didn’t think you’d live through. Tell me what the word home means to you and tell me in a way that I’ll know your mother’s name just by the way you describe your bedroom when you were eight. See, I want to know the first time you felt the weight of hate, and if that day still trembles beneath your bones. Do you prefer to play in puddles of rain or bounce in the bellies of snow? And if you were to build a snowman, would you rip two branches from a tree to build your snowman arms or would leave your snowman armless for the sake of being harmless to the tree? And if you would, would you notice how that tree weeps for you because your snowman has no arms to hug you every time you kiss him on the cheek? Do you kiss your friends on the cheek? Do you sleep beside them when they’re sad even if it makes your lover mad? Do you think that anger is a sincere emotion or just the timid motion of a fragile heart trying to beat away its pain? See, I wanna know what you think of your first name, and if you often lie awake at night and imagine your mother’s joy when she spoke it for the very first time. I want you to tell me all the ways you’ve been unkind. Tell me all the ways you’ve been cruel. Tell me, knowing I often picture Gandhi at ten years old beating up little boys at school. If you were walking by a chemical plant where smokestacks were filling the sky with dark black clouds would you holler “Poison! Poison! Poison!” really loud or would you whisper “That cloud looks like a fish, and that cloud looks like a fairy!” Do you believe that Mary was really a virgin? Do you believe that Moses really parted the sea? And if you don’t believe in miracles, tell me — how would you explain the miracle of my life to me? See, I wanna know if you believe in any god or if you believe in many gods or better yet what gods believe in you. And for all the times that you’ve knelt before the temple of yourself, have the prayers you asked come true? And if they didn’t, did you feel denied? And if you felt denied, denied by who? I wanna know what you see when you look in the mirror on a day you’re feeling good. I wanna know what you see when you look in the mirror on a day you’re feeling bad. I wanna know the first person who taught you your beauty could ever be reflected on a lousy piece of glass. If you ever reach enlightenment will you remember how to laugh? Have you ever been a song? Would you think less of me if I told you I’ve lived my entire life a little off-key? And I’m not nearly as smart as my poetry I just plagiarize the thoughts of the people around me who have learned the wisdom of silence. Do you believe that concrete perpetuates violence? And if you do — I want you to tell me of a meadow where my skateboard will soar. See, I wanna know more than what you do for a living. I wanna know how much of your life you spend just giving, and if you love yourself enough to also receive sometimes. I wanna know if you bleed sometimes from other people’s wounds, and if you dream sometimes that this life is just a balloon — that if you wanted to, you could pop, but you never would ‘cause you’d never want it to stop. If a tree fell in the forest and you were the only one there to hear — if its fall to the ground didn’t make a sound, would you panic in fear that you didn’t exist, or would you bask in the bliss of your nothingness? And lastly, let me ask you this: If you and I went for a walk and the entire walk, we didn’t talk — do you think eventually, we’d… kiss? No, wait. That’s asking too much — after all, this is only our first date.

I don't like the rain forest," Ragnor said sadly. "That's because you are not open to new experiences in the same way I am!" "No, it is because it is wetter than a boar's armpit and twice as smelly here." Magnus pushed a dripping frond out of his eyes. "I admit you make an excellent point and also paint a vivid picture with your words.

This market surging with sound of stream slogged by monsoon rain paints its picture with each stroke of speech.

Ruby, what does the future look like?” Nico asked. “I can’t picture it. I try all the time, but I can’t imagine it. Jude said it looked like an open road just after a rainstorm.” I turned back toward the board, eyes tracing those eight letters, trying to take their power away; change them from a place, a name, to just another word. Certain memories trap you; you relive their thousand tiny details. The damp, cool spring air, swinging between snow flurries and light rain. The hum of the electric fence. The way Sam used to let out a small sigh each morning we left the cabin. I remembered the path to the Factory the way you never forgot the story behind a scar. The black mud would splatter over my shoes, momentarily hiding the numbers written there. 3285. Not a name. You learned to look up, craning your neck back to gaze over the razor wire curled around the top of the fence. Otherwise, it was too easy to forget that there was a world beyond the rusting metal pen they’d thrown all of us animals into. “I see it in colors,” I said. “A deep blue, fading into golds and reds—like fire on a horizon. Afterlight. It’s a sky that wants you to guess if the sun is about to rise or set.” Nico shook his head. “I think I like Jude’s better.” “Me too,” I said softly. “Me too.

That picture changed everything. I was not the same after I saw it and I couldn’t go back to the man I’d been before seeing it either. Not after we met that night on the street. My whole world altered because of a photograph. A photograph of my beautiful American girl.

One picture puzzle piece Lyin' on the sidewalk, One picture puzzle piece Soakin' in the rain. It might be a button of blue On the coat of the woman Who lived in a shoe. It might be a magical bean, Or a fold in the red Velvet robe of a queen. It might be the one little bite Of the apple her stepmother Gave to Snow White. It might be the veil of a bride Or a bottle with some evil genie inside. It might be a small tuft of hair On the big bouncy belly Of Bobo the Bear. It might be a bit of the cloak Of the Witch of the West As she melted to smoke. It might be a shadowy trace Of a tear that runs down an angel's face. Nothing has more possibilities Than one old wet picture puzzle piece.

The Doors The End This is the end, beautiful friend This is the end, my only friend The end of our elaborate plans The end of ev'rything that stands The end No safety or surprise The end I'll never look into your eyes again Can you picture what will be So limitless and free Desperately in need of some strangers hand In a desperate land Lost in a Roman wilderness of pain And all the children are insane All the children are insane Waiting for the summer rain There's danger on the edge of town Ride the king's highway Weird scenes inside the goldmine Ride the highway West baby Ride the snake Ride the snake To the lake To the lake The ancient lake baby The snake is long Seven miles Ride the snake He's old And his skin is cold The west is the best The west is the best Get here and we'll do the rest The blue bus is calling us The blue bus is calling us Driver, where you taking us? The killer awoke before dawn He put his boots on He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived And then he paid a visit to his brother And then he walked on down the hall And he came to a door And he looked inside Father? Yes son I want to kill you Mother, I want to............. Come on, baby, take a chance with us Come on, baby, take a chance with us Come on, baby, take a chance with us And meet me at the back of the blue bus This is the end, beautiful friend This is the end, my only friend The end It hurts to set you free But you'll never follow me The end of laughter and soft lies The end of nights we tried to die This is the end

May the road rise to meet you. May the wind be always at your back. May the sun shine warm upon your face. May the rains fall soft upon your fields, and until we meet again, May the Lord hold you in the palm of His hand. Irish blessing

A cold rain began to fall, and the blurred street-lamps looked ghastly in the dripping mist.

He saw the white paper as the great universe of nonexistence. A single stroke would give rise to existence within it. He could evoke rain or wind at will, but whatever he drew, his heart would remain in the painting forever. If his heart was tainted, the picture would be tainted; if his heart was listless, so would the picture be. If he attempted to make a show of his craftsmanship, it could not be concealed. Men’s bodies fade away, but ink lives on. The image of his heart would continue to breathe after he himself was gone.

[on going to Sunday school:] "It looks like rain, and I hope it will rain cats and dogs and hammers and pitchforks and silver sugar spoons and hay ricks and paper-covered novels and picture frames and rag carpets and toothpicks and skating rinks and birds of paradise and roof gardens and burdocks and French grammars before Sunday school time.

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors--values, standards, my own limitations as an observer--make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of thing doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I am very good at sensing others' true feelings." But any number of times I've seen people who say they've easily hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are duped by the most transparent flattery. It's enough to make me ask the question: How well do we really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am.

A picture is not going to be like a stone that has been subjected to the rain and the heat and the cold and the dirt and the smell of Jerusalem. This stone is Jerusalem. It is.

Home is a room dappled with firelight: there are pictures and books. And when the rain sighs, and the acorns fall, there are patterns of leaves against the drawn curtains. Home is where I was safe. Home is what I fled from.

When you look at pictures of people you know are dead, there is something different about the eyes. As if they anticipated their particular fate.It is a visceral recognition. I told myself I was getting too fanciful and went to bed.

Life is random. Life is complicated. Life is often unforgiving. And we must each live it anyway. And I don’t mean live it as if it’s a chore, something to be endured, survived. I mean, dig in, get muddy, howl at the moon, take pictures of sunsets, play in the rain, make love, savor your food, smile as much as you can. And cry when you’re sad. Live it despite the fact it pisses you off. Live it and pay as much attention as you can muster

She sat there alone after getting drenched enough by rain. In the silence of the midnight, Each drop that fell made a sound that was loud enough to wake all the memories inside her one after the other, before she could know what was happening she was lost somewhere in the past where the pictures in mind pushed her into a state of chaotic happiness and a blissful pain.

May there always be work for your hands to do. May your purse always hold a coin or two. May the sun always shine on your windowpane. May a rainbow be certain to follow each rain. Irish blessing

In the rain forest, no niche lies unused. No emptiness goes unfilled. No gasp of sunlight goes untrapped. In a million vest pockets, a million life-forms quietly tick. No other place on earth feels so lush. Sometimes we picture it as an echo of the original Garden of Eden—a realm ancient, serene, and fertile, where pythons slither and jaguars lope. But it is mainly a world of cunning and savage trees. Truant plants will not survive. The meek inherit nothing. Light is a thick yellow vitamin they would kill for, and they do. One of the first truths one learns in the rain forest is that there is nothing fainthearted or wimpy about plants.

Father Forgive Us For Livin’ Why All My Homies Stuck In Prison? Barely Breathin’ Believin That The World Is A Prison, It’s Like A Ghetto We Could Neva Leave… A Broken Rose, Trying to Bloom Through The Cracks Of The Concrete, So Many Otha Things For Us To See, Things To Be, Our History so Full Of Tragedy And Misery, To All My Homies Neva Made It Home, The Dead Peers I Shed Tatooed Tears For When I’m Alone, Picture Us Inside A Ghetto Heaven, A Place To Rest, Findin’ Peace Through This Land Of Stress, In My Chest I Feel Pain, Come In Sudden Storms, Life Full Of Rain In This Game Watch For landstorms, Our Unborn, Neva Gotta Grow Neva Gotta See What’s Next, In This World Full Of Countless Threats, I Beg God To Make A Way For Our Ghetto Kids To Breathe Show A Sign Make Us All Believe, Coz I Ain’t Mad At Cha

Stavia saw herself as in a picture, from the outside, a darkly cloaked figure moving along a cobbled street, the stones sheened with a soft, early spring rain.

Wouldn't it be nice if there weree a planet where the sound of rain falling is like Bach?" he says. "Yes, Planet Bach," I respond. He smiles -"Yes", he murmurs- picturing it, hearing it.

i'm beginning to feel like this. caught the incredible sunshine just in the nick of time today on my walk. the wall of rain approaching from the west desert was pretty spectacular, too. along with being gorgeous, it was sooo muddy. which made driving home in no shoes so very fun :) if only i could post photos here! a picture is worth a thousand words, yes? If a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up.

Rain is the subject of prayer, the kind gesture of saints. Dear City, explain your irreverence: in you, rain is a visitor with nowhere to go. Where is the ground that knows only the love of water? What are the passageways to your heart? Pity the water that stays and rises on the streets, pity the water that floods into houses, so dark and filthy and heavy with rats and dead leaves and plastic. How ashamed water is to be what you have made it. What have you done to its beauty, its graceful body in pictures of oceans, its clear face in a glass?

And incredulity, that too was a large part of being happy. I mean that euphoric inability fully to believe in one’s own simple luck. There I was, suddenly, with a girl in my arms, figuratively, at least, doing the things that grown-ups did, holding her hand, and kissing her in the dark, and, when the picture had ended, standing aside, clearing my throat in grave politeness, to allow her to pass ahead of me under the heavy curtain and through the doorway out into the rain-washed sunlight of the summer evening. I was myself and at the same time someone else, someone completely other, completely new.

But no statistic conveyed a true picture of Panama rain. It had to be seen, to be felt, smelled; it had to be heard to be appreciated. The effect was much as though the heavens had opened and the air had turned instantly liquid.

Falling in love: how does it work? Over the years we gather the odd clue, but nothing adds up. We’d like to think we have a picture of our future partner projected in our mind, all their qualities recorded as if on film, and we just search the planet for that person until we find them, sitting in Casablanca waiting to be recognised. But in reality our love lives are blown around by career and coincidence, not to mention lack of nerve on given occasions, and we never have respectable reasons for anything until we have to make them up afterwards for the benefit of our curious friends.

When you do try to picture the boys who do ask you out, they're absolutely featureless, like old carvings eroded by centuries of rain and wind.

I’m going home to an old country farmhouse, once green, rather faded now, set among leafless apple orchards. There is a brook below and a December fir wood beyond, where I’ve heard harps swept by the fingers of rain and wind. There is a pond nearby that will be gray and brooding now. There will be two oldish ladies in the house, one tall and thin, one short and fat; and there will be two twins, one a perfect model, the other what Mrs. Lynde calls a ‘holy terror.’ There will be a little room upstairs over the porch, where old dreams hang thick, and a big, fat, glorious feather bed which will almost seem the height of luxury after a boardinghouse mattress. How do you like my picture, Phil?" "It seems a very dull one," said Phil, with a grimace. "Oh, but I’ve left out the transforming thing," said Anne softly. "There’ll be love there, Phil—faithful, tender love, such as I’ll never find anywhere else in the world—love that’s waiting for me. That makes my picture a masterpiece, doesn’t it, even if the colors are not very brilliant?" Phil silently got up, tossed her box of chocolates away, went up to Anne, and put her arms about her. "Anne, I wish I was like you," she said soberly.

As we grow up, we learn that even the one person that wasn't supposed to ever let us down, probably will. You'll have your heart broken and you'll break others' hearts. You'll fight with your best friend or maybe even fall in love with them, and you'll cry because time is flying by. So take too many pictures, laugh too much, forgive freely, and love like you've never been hurt. Life comes with no guarantees, no time outs, no second chances. You just have to live life to the fullest, tell someone what they mean to you and tell someone off, speak out, dance in the pouring rain, hold someone's hand, comfort a friend, fall asleep watching the sun come up, stay up late, be a flirt, and smile until your face hurts. Don't be afraid to take chances or fall in love and most of all, live in the moment because every second you spend angry or upset is a second of happiness you can never get back.

That boy is a wonder. He's my autumn rain, my last picture of the sun before it sets. Daytime is not possible without Trevor. Not even sure the sun come out without Trevor.

It's all about yin and yang," she said, stroking my hair in her slow calming way, her voice as sweet and delicate as summer rain. "Balancing your energy. When you're angry or upset, stop for a moment and close your eyes. Breath in slowly. Imagine as you do that the air you take in is bright and golden, as lovely and light as your eyes. Let that brightness fill your belly. Then, when you exhale, picture the darkness that had been within you--whatever it was that upset you -- and visualize it leaving your body as you release your breath.

There’s nothing to be scared of.” Instead of taking Charlie’s pulse – there was really no point – he took one of the old man’s hands in his. He saw Charlie’s wife pulling down a shade in the bedroom, wearing nothing but the slip of Belgian lace he’d bought her for their first anniversary; saw how the ponytail swung over one shoulder when she turned to look at him, her face lit in a smile that was all yes. He saw a Farmall tractor with a striped umbrella raised over the seat. He smelled bacon and heard Frank Sinatra singing ‘Come Fly with Me’ from a cracked Motorola radio sitting on a worktable littered with tools. He saw a hubcap full of rain reflecting a red barn. He tasted blueberries and gutted a deer and fished in some distant lake whose surface was dappled by steady autumn rain. He was sixty, dancing with his wife in the American Legion hall. He was thirty, splitting wood. He was five, wearing shorts and pulling a red wagon. Then the pictures blurred together, the way cards do when they’re shuffled in the hands of an expert, and the wind was blowing big snow down from the mountains, and in here was the silence and Azzie’s solemn watching eyes.

Mommy gets up to give you a glass of water in the middle of the night. Mom invites your friends inside when it’s raining. Mama burns your ears with the hot comb to make your hair look pretty for class picture day. Ma is sore and worn out from wringing your wet clothes and hanging them to dry; Ma needs peace and quiet at the end of the day. We don’t have one of those. We have a statement of fact.

Does one love a statue?" she demanded. "Shall I caress a picture? Shall I rain tears or kisses over the mere semblance of a life that does not live, shall I fondle hands that never return my clasp? Love! Love is in my heart -yes! like a shut-up fire in a tomb,but you hold the key, and the flame dies for want of air.

Yaicha is named after a song by some group from the last century called the Pousette-Dart Band. Something about a girl, a candle in the falling rain shining amidst the pain. I kind of surprise myself when I can picture Yaicha as that candle. My father named Yaicha after the "haunting melody." I wonder if he ever listened to the lyrics.

I admit it, I'm tired. Over the years, I've hidden away my suffering. I smile when I feel like crying. I laugh when I feel like dying. I have to stare at pictures of my children and my grandchildren to see them grow up. I miss the simplest things of ordinary life — having dinner with friends, taking walks in the woods. I miss gardening. I miss children's laughter. I miss dogs barking. I miss the feel of the rain on my face. I miss babies. I miss the sound of birds singing and of women laughing. I miss winter and summer and spring and fall. Yes, I miss my freedom. So would you.

Imagine you are a member of a tour visiting Greece. The group goes to the Parthenon. It is a bore. Few people even bother to look — it looked better in the brochure. So people take half a look, mostly take pictures, remark on serious erosion by acid rain. You are puzzled. Why should one of the glories and fonts of Western civilization, viewed under pleasant conditions — good weather, good hotel room, good food, good guide — be a bore? Now imagine under what set of circumstances a viewing of the Parthenon would not be a bore. For example, you are a NATO colonel defending Greece against a Soviet assault. You are in a bunker in downtown Athens, binoculars propped up on sandbags. It is dawn. A medium-range missile attack is under way. Half a million Greeks are dead. Two missiles bracket the Parthenon. The next will surely be a hit. Between columns of smoke, a ray of golden light catches the portico. Are you bored? Can you see the Parthenon? Explain.

Okay, where’s the camera icon?” Setne fumbled with his phone. “We have to get a picture together before I destroy you.” “Destroy me?” demanded the cobra goddess. She lashed out at Setne, but a sudden gust of rain and wind pushed her back. I was ten feet away from Annabeth. Riptide’s blade glowed as I dragged it through the mud. “Let’s see.” Setne tapped his phone. “Sorry, this is new to me. I’m from the Nineteenth Dynasty. Ah, okay. No. Darn it. Where did the screen go? Ah! Right! So what do modern folks call this…a snappie?” He leaned in toward the cobra goddess, held out his phone at arm’s length, and took a picture. “Got it!” “WHAT IS THE MEANING OF THIS?” Wadjet roared. “YOU DARE TAKE A SELFIE WITH THE COBRA GODDESS?” “Selfie!” said the magician. “That’s right! Thanks. And now I’ll take your crown and consume your essence. Hope you don’t mind.

The Sweat and the Furrow was Silas Weekley being earthly and spade-conscious all over seven hundred pages. The situation, to judge from the first paragraph, had not materially changed since Silas's last book: mother lying-in with her eleventh upstairs, father laid-out after his ninth downstairs, eldest son lying to the Government in the cow-shed, eldest daughter lying with her lover in the the hayloft, everyone else lying low in the barn. The rain dripped from the thatch, and the manure steamed in the midden. Silas never omitted the manure. It was not Silas's fault that its steam provided the only uprising element in the picture. If Silas could have discovered a brand of steam that steamed downwards, Silas would have introduced it.

It would be good to give much thought, before you try to find words for something so lost, for those long childhood afternoons you knew that vanished so completely -and why? We're still reminded-: sometimes by a rain, but we can no longer say what it means; life was never again so filled with meeting, with reunion and with passing on as back then, when nothing happened to us except what happens to things and creatures: we lived their world as something human, and became filled to the brim with figures. And became as lonely as a shepherd and as overburdened by vast distances, and summoned and stirred as from far away, and slowly, like a long new thread, introduced into that picture-sequence where now having to go on bewilders us.

If they were both repeating the same motion in two different places, somehow it felt like they were doing it together. Which meant he wasn't really alone. He pictured two dust motes spinning in concentric circles. Maybe it was like that everywhere, for everyone. There was always someone doing the exact same thing... People simply didn't know it. Could be you were cutting vegetables with your left hand while it rained in Japan and a woman in Puebla was doing the same thing, and you both looked up at the sky at the same time and saw a bird fly by.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

I closed my eyes and took more of those deep breaths Dad was so fond of, thinking that it was no wonder Prodigium were always getting their asses handed to them by humans. I mean, every time I had to do an intense spell, there was all this focusing, and relaxing, and picturing, and breathing...It wasn't exactly the most effective battle strategy against something like The Eye. I should've known better than to think about The Eye,though. As soon as the name popped into my head, my control shattered. And so did the terra-cotta pot. Black soil rained down on my feet, and the purple flower drooped even further. I could have sworn it actually bobbed accusingly at me. "Ugh," I groaned, as Cal quickly scooped the jagged pot out of my hands. "Sorry,but I warned you I was destructo-girl.

Avery, I found this picture the other day after our talk and knew I had to get it for you. I know sometimes you wonder why I feel the way I do about you, when you are still learning to love yourself. You said you were flawed and damaged, but, my love, we all are. The storms in your life don’t make you less than perfect; they make you beautiful and full of character, with the ability to use all you’ve learned to impact the rest of the world. I’ve been wishing for months there was a way you could see yourself through my eyes. Well, here it is. This is how I see you, and the rain has only made you more breathtaking. All my love, Parker

To the Thawing Wind" Come with rain, O loud Southwester! Bring the singer, bring the nester; Give the buried flower a dream; Make the settled snow-bank steam; Find the brown beneath the white; But whate'er you do to-night, Bathe my window, make it flow, Melt it as the ice will go; Melt the glass and leave the sticks Like a hermit's crucifix; Burst into my narrow stall; Swing the picture on the wall; Run the rattling pages o'er; Scatter poems on the floor; Turn the poet out of door.

My friend has never been to a picture show, nor does she intend to: "I'd rather hear you tell the story, Buddy. That way I can imagine it more. Besides, a person my age shouldn't squander their eyes. When the Lord comes, let me see him clear." In addition to never having seen a movie, she has never: eaten in a restaurant, traveled more than five miles from home, received or sent a telegram, read anything except funny papers and the Bible, worn cosmetics, cursed, wished someone harm, told a lie on purpose, let a hungry dog go hungry. Here are a few things she has done, does do: killed with a hoe the biggest rattlesnake ever seen in this county (sixteen rattles), dip snuff (secretly), tame hummingbirds (just try it) till they balance on her finger, tell ghost stories (we both believe in ghosts) so tingling they chill you in July, talk to herself, take walks in the rain, grow the prettiest japonicas in town, know the recipe for every sort of oldtime Indian cure, including a magical wart remover.

She would curl herself onto the couch and listen to him making paintings out of sound. And each piece was a different picture. In her mind’s eye, she could see a garden full of trees with white leaves and a fountain with blush-pink petals floating in the clear water—that was a concerto. The volta: scarlet and plum-colored ribbons winding around each other, battling for dominance. A requiem . . . a lone horse walking down a dimly lit cobbled road, looking for a rider that had died long ago. From these dead foreigners whose names she was slowly growing accustomed to, Nori was learning what it was to live a thousand lifetimes of joy and sorrow without ever leaving this house.

Think about it: If you have saved just enough to have your own house, your own car, a modicum of income to pay for food, clothes, and a few conveniences, and your everyday responsibilities start and end only with yourself… You can afford not to do anything outside of breathing, eating, and sleeping. Time would be an endless, white blanket. Without folds and pleats or sudden rips. Monday would look like Sunday, going sans adrenaline, slow, so slow and so unnoticed. Flowing, flowing, time is flowing in phrases, in sentences, in talk exchanges of people that come as pictures and videos, appearing, disappearing, in the safe, distant walls of Facebook. Dial fast food for a pizza, pasta, a burger or a salad. Cooking is for those with entire families to feed. The sala is well appointed. A day-maid comes to clean. Quietly, quietly she dusts a glass figurine here, the flat TV there. No words, just a ho-hum and then she leaves as silently as she came. Press the shower knob and water comes as rain. A TV remote conjures news and movies and soaps. And always, always, there’s the internet for uncomplaining company. Outside, little boys and girls trudge along barefoot. Their tinny, whiny voices climb up your windowsill asking for food. You see them. They don’t see you. The same way the vote-hungry politicians, the power-mad rich, the hey-did-you-know people from newsrooms, and the perpetually angry activists don’t see you. Safely ensconced in your tower of concrete, you retreat. Uncaring and old./HOW EASY IT IS NOT TO CARE

Picture the Bay of Bengal as an expanse of tropical water: still and blue in the calm of the January winter, or raging and turbid with silt at the peak of the summer rains. Picture it in two dimensions on a map, overlaid with a web of shipping channels and telegraph cables and inscribed with lines of distance. Now imagine the sea as a mental map: as a family tree of cousins, uncles, sisters, sons, connected by letters and journeys and stories. Think of it as a sea of debt, bound by advances and loans and obligations. Picture the Bay of Bengal even where it is absent — deep in the Malaysian jungle, where Hindu shrines sprout from the landscape as if washed up by the sea, left behind.

As I prepare to leave she walks with me, half deaf and blind, under several ladders in her living room that balance paint and workmen, into the garden where there is a wild horse, a 1930 car splayed flat on its axles and hundreds of flowering bushes so that her eyes swim out into the dark green and unfocussed purple. There is very little now that separates the house from the garden. Rain and vines and chickens move into the building. Before I leave, she points to a group photograph of a fancy dress party that shows herself and my grandmother Lalla among the crowd. She has looked at it for years and has in this way memorized everyone's place in the picture. She reels off names and laughs at the facial expressions she can no longer see. It has moved, tangible, palpable, into her brain, the way memory invades the present in those who are old, the way gardens invade houses here, the way her tiny body steps into mine as intimate as anything I have witnessed and I have to force myself to be gentle with this frailty in the midst of my embrace.

Every moment is like a fragile snowflake. None are exactly the same, but once they hit the ground, they become what they were always meant to be. Part of the larger picture.

Somewhere above us the sky seeps rain and I think of snow falling. Pictures painted with water. Poetry breathed between kisses. Too beautiful to last.

When friends couldn't be found, the books were always waiting with something new to tell. Life that was getting too much the same could be shaken up in a few minutes by the pictures in a book of some ancient temple newly discovered deep in a rain-forest, a fuzzy photo of Uranus with it's up-and-down rings, or a prismed picture taken through the faceted eye of a bee.

But the tears of joy had washed anxiety away and lifted them to a height where nothing was impossible. Ryuji was as if paralyzed: the sight of familiar places, places they had visited together, failed to move him. That Yamashita Park and Marine Tower should now appear just as he had often pictured them seemed only obvious, inevitable. And the smoking drizzle of rain, by softening the too distinct scenery and making of it something closer to the images in memory, only heightened the reality of it all. Ryuji expected for some time after he disembarked to feel the world tottering precariously beneath his feet, and yet today more than ever before, like a piece in a jigsaw puzzle, he felt snugly in place in an anchored, amiable world.

His son Peter Bucky happily spent time driving Einstein around, and he later wrote down some of his recollections in extensive notebooks. They provide a delightful picture of the mildly eccentric but deeply un-affected Einstein in his later years. Peter tells, for example, of driving in his convertible with Einstein when it suddenly started to rain. Einstein pulled off his hat and put it under his coat. When Peter looked quizzical, Einstein explained: “You see, my hair has withstood water many times before, but I don’t know how many times my hat can.

Perhaps we ought to feel with more imagination. As today the sky 70 degrees above zero with lines falling The way September moves a lace curtain to be near a pear, The oddest device can't be usual. And that is where The pejorative sense of fear moves axles. In the stars There is no longer any peace, emptied like a cup of coffee Between the blinding rain that interviews. You were my quintuplets when I decided to leave you Opening a picture book the pictures were all of grass Slowly the book was on fire, you the reader Sitting with specs full of smoke exclaimed How it was a rhyme for "brick" or "redder." The next chapter told all about a brook. You were beginning to see the relation when a tidal wave Arrived with sinking ships that spelled out "Aladdin." I thought about the Arab boy in his cave But the thoughts came faster than advice. If you knew that snow was a still toboggan in space The print could rhyme with "fallen star.

Things I Used to Get Hit For: Talking back. Being smart. Acting stupid. Not listening. Not answering the first time. Not doing what I’m told. Not doing it the second time I’m told. Running, jumping, yelling, laughing, falling down, skipping stairs, lying in the snow, rolling in the grass, playing in the dirt, walking in mud, not wiping my feet, not taking my shoes off. Sliding down the banister, acting like a wild Indian in the hallway. Making a mess and leaving it. Pissing my pants, just a little. Peeing the bed, hardly at all. Sleeping with a butter knife under my pillow. Shitting the bed because I was sick and it just ran out of me, but still my fault because I’m old enough to know better. Saying shit instead of crap or poop or number two. Not knowing better. Knowing something and doing it wrong anyway. Lying. Not confessing the truth even when I don’t know it. Telling white lies, even little ones, because fibbing isn’t fooling and not the least bit funny. Laughing at anything that’s not funny, especially cripples and retards. Covering up my white lies with more lies, black lies. Not coming the exact second I’m called. Getting out of bed too early, sometimes before the birds, and turning on the TV, which is one reason the picture tube died. Wearing out the cheap plastic hole on the channel selector by turning it so fast it sounds like a machine gun. Playing flip-and-catch with the TV’s volume button then losing it down the hole next to the radiator pipe. Vomiting. Gagging like I’m going to vomit. Saying puke instead of vomit. Throwing up anyplace but in the toilet or in a designated throw-up bucket. Using scissors on my hair. Cutting Kelly’s doll’s hair really short. Pinching Kelly. Punching Kelly even though she kicked me first. Tickling her too hard. Taking food without asking. Eating sugar from the sugar bowl. Not sharing. Not remembering to say please and thank you. Mumbling like an idiot. Using the emergency flashlight to read a comic book in bed because batteries don’t grow on trees. Splashing in puddles, even the puddles I don’t see until it’s too late. Giving my mother’s good rhinestone earrings to the teacher for Valentine’s Day. Splashing in the bathtub and getting the floor wet. Using the good towels. Leaving the good towels on the floor, though sometimes they fall all by themselves. Eating crackers in bed. Staining my shirt, tearing the knee in my pants, ruining my good clothes. Not changing into old clothes that don’t fit the minute I get home. Wasting food. Not eating everything on my plate. Hiding lumpy mashed potatoes and butternut squash and rubbery string beans or any food I don’t like under the vinyl seat cushions Mom bought for the wooden kitchen chairs. Leaving the butter dish out in summer and ruining the tablecloth. Making bubbles in my milk. Using a straw like a pee shooter. Throwing tooth picks at my sister. Wasting toothpicks and glue making junky little things that no one wants. School papers. Notes from the teacher. Report cards. Whispering in church. Sleeping in church. Notes from the assistant principal. Being late for anything. Walking out of Woolworth’s eating a candy bar I didn’t pay for. Riding my bike in the street. Leaving my bike out in the rain. Getting my bike stolen while visiting Grandpa Rudy at the hospital because I didn’t put a lock on it. Not washing my feet. Spitting. Getting a nosebleed in church. Embarrassing my mother in any way, anywhere, anytime, especially in public. Being a jerk. Acting shy. Being impolite. Forgetting what good manners are for. Being alive in all the wrong places with all the wrong people at all the wrong times.

When friends couldn't be found, the books were always waiting with something new to tell. Life that was getting too much the same could be shaken up in a few minutes by the pictures in a book of some ancient temple newly discovered deep in a rain-forest, a fuzzy photo of Uranus with it's up-and-down rings, or a prismed picture taken through the faceted eye of a bee. -Nita Callahan- -So You Want To Be A Wizard-

It’s not about the picture but about each of those single pieces that make it…one single piece…one single day…if you take care of the pieces and if they are right then the picture …the relationship…will adjust itself to perfection.

. . . to my surprise I began to know what The Language was about, not just the part we were singing now but the whole poem. It began with the praise and joy in all creation, copying the voice of the wind and the sea. It described sun and moon, stars and clouds, birth and death, winter and spring, the essence of fish, bird, animal, and man. It spoke in what seemed to be the language of each creature. . . . It spoke of well, spring, and stream, of the seed that comes from the loins of a male creature and of the embryo that grows in the womb of the female. It pictured the dry seed deep in the dark earth, feeling the rain and the warmth seeping down to it. It sang of the green shoot and of the tawny heads of harvest grain standing out in the field under the great moon. It described the chrysalis that turns into a golden butterfly, the eggs that break to let out the fluffy bird life within, the birth pangs of woman and of beast. It went on to speak of the dark ferocity of the creatures that pounce upon their prey and plunge their teeth into it--it spoke in the muffled voice of bear and wolf--it sang the song of the great hawks and eagles and owls until their wild faces seemed to be staring into mine, and I knew myself as wild as they. It sang the minor chords of pain and sickness, of injury and old age; for a few moments I felt I was an old woman with age heavy upon me.

And then there's the truth beyond that, sitting like an old rock under green creek water: none of these things matter. Right now, in this moment, we have love. We have it in the sound of my daughter's laugher, in Mom's and Georgia's locked fingers, in the warm pressure of J.T.'s hand. It will leave, and it will come again, and when it does I'll give up everything and take it. Just like an addict. Like dry grass in new rain. It's not something I'm proud of necessarily. Then again, maybe I am.

He finds he cannot think of the dying men at all. Into his mind instead strays the picture of More on the scaffold, seen through the veil of rain: his body, already dead, folding back neatly from the impact of the axe. The cardinal when he fell had no persecutor more relentless than Thomas More. Yet, he thinks, I did not hate him. I exercised my skills to the utmost to persuade him to reconcile with the king. And I thought I would win him, I really thought I would, for he was tenacious of the world, tenacious of his person, and had a good deal to live for. In the end he was his own murderer. He wrote and wrote and he talked and talked, then suddenly at a stroke he cancelled himself. If ever a man came close to beheading himself, Thomas More was that man.

A breakfast-room adjoined the drawing-room, I slipped in there.  It contained a bookcase: I soon possessed myself of a volume, taking care that it should be one stored with pictures.  I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a Turk; and, having drawn the red moreen curtain nearly close, I was shrined in double retirement. Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but not separating me from the drear November day.  At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon.  Afar, it offered a pale blank of mist and cloud; near a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast. I

when i was little i used to save my baths for later. id come back to them before bed and sit in the old cold bathwater and run cool water out of the shower and pretend i was hiding in vietnam and it was raining. i was young when i did this and am not sure why i was thinking about vietnam or what i knew about it. i did this when i was older too. im thinking about doing it again tonight. you are running out of time to get everything you want exactly the way you want it. (this is a joke.) most things are going to be left unsaid. (this is not a joke.) a few weeks ago my mom sent me an email with pictures of eagles that said “how about these eagles.” she visits my cousin in jail once a month. that seems like a lot for an aunt. he is in jail because he shot his girlfriend in the face but they are still together. she told me once that she knew in her heart that he is guilty but now she claims she never said that.

So when nobody's watching, is the rainbow there? No, it is not. Your eyes are needed to complete the geometry. The triad of Sun, water droplets, and observer are all required for a rainbow. When no one is present, we can picture the situation as an infinity of potential rainbows, each slightly offset from the others with various color emphases (since bigger droplets produce more vivid rainbows but rob them of blue). Moreover, only when neurons in the retina and brain are stimulated by light's invisible magnetic and electrical pulses do they conjure the subjective experience of spectral colors. For both reasons, we are as necessary for rainbows as the Sun and the rain.

So we call upon the author to explain (Doop doop doop doop dooop) Our myxomatoid kids spraddle the streets, we've shunned them from the greasy-grind The poor little things, they look so sad and old as they mount us from behind I ask them to desist and to refrain And then we call upon the author to explain (Doop doop doop doop dooop)Rosary clutched in his hand, he died with tubes up his nose And a cabal of angels with finger cymbals chanted his name in code We shook our fists at the punishing rain And we call upon the author to explain (Doop doop doop doop dooop) He said everything is messed up around here, everything is banal and jejune There is a planetary conspiracy against the likes of you and me in this idiot constituency of the moon Well, he knew exactly who to blame And we call upon the author to explain (Doop doop doop doop dooop) Prolix! Prolix! Nothing a pair of scissors can't fix! Prolix! Prolix! Nothing a pair of scissors can't fix!(Doop doop doop doop dooop) Well, I go guruing down the street, young people gather round my feet Ask me things, but I don't know where to start They ignite the power-trail ssstraight to my father's heart And once again I call upon the author to explain (Doop doop doop doop dooop ...)We call upon the author to explain Who is this great burdensome slavering dog-thing that mediocres my every thought? I feel like a vacuum cleaner, a complete sucker, it's fucked up and he is a fucker But what an enormous and encyclopaedic brain I call upon the author to explain (Doop doop doop doop dooop ...) Oh rampant discrimination, mass poverty, third world debt, infectious diseease Global inequality and deepening socio-economic divisions Well, it does in your brain And we call upon the author to explain (Doop doop doop doop dooop ...) Now hang on, my friend Doug is tapping on the window (Hey Doug, how you been?) Brings me back a book on holocaust poetry complete with pictures Then tells me to get ready for the rain And we call upon the author to explain (Doop doop doop doop dooop ...) I say prolix! Prolix! Something a pair of scissors can fix Bukowski was a jerk! Berryman was best! He wrote like wet papier mache, went the Heming-way weirdly on wings and with maximum pain We call upon the author to explain (Doop doop doop doop dooop ...) Down in my bolthole I see they've published another volume of unreconstructed rubbish "The waves, the waves were soldiers moving". Well, thank you, thank you, thank you And again I call upon the author to explain Yeah, we call upon the author to explain Prolix! Prolix! There's nothing a pair of scissors can't fix!

She understood pictures because they could be anything, mean anything. Maybe a teardrop today could be rain tomorrow. Or even something good: a fresh pear or a cheery mandolin. And maybe, one day, something so lovely it breaks your heart: paisley on your child's dress the day they whisper their name for the first time. Pictures stayed the same but changed with you. They were past, the present, the future, all at once.

Everything old people say about time is true. For starters, it flies. As a kid living through semi-eternal summer vacations, this is hard to believe. But as an adult? Get married. Have children. And then sit back, stunned, watching an absolute roar of gorgeous moments and hilarious moments and exhausting moments disappear—quickly and in tragedy or marching off at the traditional pace, but disappear they must. Snap a photo or two. Read verses about futility. Watching one’s small humans age and grow up packs a serious punch. It’s like being stuck in a dream unable to speak, like being a ghost that can see but not touch, like standing on a huge grate while a storm rains oiled diamonds, like collecting feathers in a storm. Parents in love with their kids are all amnesiacs, trying to remember, trying to cherish moments, ghosts trying to hold the world. Being mortals, having a finite mind when surrounded by joy that is perpetually rolling back into the rear view is like always having something important on the tips of our tongues, something on the tips of our fingers, always slipping away, always ducking our embrace. No matter how many pictures we take, no matter how many scrapbooks we make, no matter how many moments we invade with a rolling camera, we will die. We will vanish. We cannot grab and hold.

Do you hear that?” he says. “You mean the crashing thunder and pounding rain?” He shakes his head. I listen closely, trying to filter o ut the sounds of the storm. Then I hear it. A whooshing sound with a fast buzzing underne ath it. It’s so, so familiar but I can’t quite put my finger on it. A very definite blac k spot appears among the dark gray clouds. The spot lengthens horizontally. The puzzle pieces click into place and I get the full pictur e: Fighter jet. Headed straight for us. It could be a coincidence, right? F-22 Raptors fly low through giant thunderstorms over major metropolitan areas in the middle of the night a ll the time. Right. My illusions of a coincidence are shattered - by a mis sile flying straight at me. It would seem this guy has infrared, too. I mean, missiles? Really? Isn’t that a bit overkill? I start flying away, but Sani stops me. “Dive!

How I picture it: A scar is a story about pain, injury, healing. Years, too, are scars we wear. I remember their stories. The year everything changed. Kindergarten, fourth grade. The year of the pinecone, the postcard, the notebook. The year of waking in the night, sweating, heart racing. The year of being the only adult in the house, one baseball bat by the front door and another one under the bed. Or the year the divorce was finalized. First grade, fifth grade. Two houses, two beds, two Christmases, two birthdays. The year of where are your rain boots, they must be at Dad’s house. The year of who signed the permission slip? The year of learning to mow the lawn. The year of fixing the lawn mower, unclogging the toilets. The year I was tattooed with lemons. The year of sleeping with the dog instead of a husband. (The dog snores more quietly. The dog takes up less space.) The year of tweeting a note-to-self every day to keep myself moving. The year I kept moving. The year of sitting up at night, forgetting whether the kids were asleep in their beds or not. The year of waking in the morning and having to remember whether they were with me. The year I feared I would lose the house, and the year I did not lose the house. The year I wanted to cut a hole in the air and climb inside, and the year I didn’t want that at all. The year I decided not to disappear. The year I decided not to be small. The year I lived.

JESUS & THE WEATHER I don't think Jesus Who is Our Lord would have liked the weather in Limerick because it's always raining and the Shannon keeps the whole city damp. My father says the Shannon is a killer river because it killed my two brothers. When you look at pictures of Jesus He's always wandering around ancient Israel in a sheet. It never rains there and you never hear of anyone coughing or getting consumption or anything like that and no one has a job there because all they do is stand around and eat manna and shake their fists and go to crucifixions. Anytime Jesus got hungry all He had to do was go up the road to a fig tree or an orange tree and have His fill. If He wanted a pint He could wave His hand over a big glass and there was the pint. Or He could visit Mary Magdalene and her sister, Martha, and they'd give Him His dinner no questions asked and He'd get his feet washed and dried with Mary Magdalene's hair while Martha washed the dishes, which I don't think is fair. Why should she have to wash the dishes while her sister sits out there chatting away with Our Lord? It's a good thing Jesus decided to be born Jewish in that warm place because if he was born in Limerick he'd catch the consumption and be dead in a month and there wouldn't be any Catholic Church and there wouldn't be any Communion or Confirmation and we wouldn't have to learn the catechism and write compositions about Him. The End.

Let me paint a picture for you: The full moon was bulbous and yellow like the blind and rotted eye of a witch that peered down from the murky sky with bad intentions, and a million little stars shone down on the sleepy Southern town of Evelyn. The breeze was gentle and cool, carrying on it the scent of flowers and wet earth from the recent rain spell. The only thing missing was the children singing hymns, and I'm sure it would have been enough to make someone happy to be alive.

I've been looking so long at these pictures of you That I almost believe that they're real I've been living so long with my pictures of you That I almost believe that the pictures are All I can feel Remembering You standing quiet in the rain As I ran to your heart to be near And we kissed as the sky fell in Holding you close How I always held close in your fear Remembering You running soft through the night You were bigger and brighter and wider than snow And screamed at the make-believe Screamed at the sky And you finally found all your courage To let it all go Remembering You fallen into my arms Crying for the death of your heart You were stone white So delicate Lost in the cold You were always so lost in the dark Remembering You how you used to be Slow drowned You were angels So much more than everything Hold for the last time then slip away quietly Open my eyes But I never see anything If only I'd thought of the right words I could have held on to your heart If only I'd thought of the right words I wouldn't be breaking apart All my pictures of you Looking so long at these pictures of you But I never hold on to your heart Looking so long for the words to be true But always just breaking apart My pictures of you There was nothing in the world That I ever wanted more Than to feel you deep in my heart There was nothing in the world That I ever wanted more Than to never feel the breaking apart All my pictures of you

This place, our little cloud forest, even though we missed our papi, it was the most beautiful place you've ever seen. We didn't really know that then, because it was the only place we'd ever seen, except in picture in books and magazines, but now that's I've seen other place, I know. I know how beautiful it was. And we loved it anyway even before we knew. Because the trees had these enormous dark green leaves, as a big as a bed, and they would sway in the wind. And when it rain you could hear the big, fat raindrops splatting onto those giant leaves, and you could only see the sky in bright blue patches if you were walking a long way off to a friend's house or to church or something, when you passed through a clearing and all those leaves would back away and open up and the hot sunshine would beat down all yellow and gold and sticky. And there were waterfalls everywhere with big rock pools where you could take a bath and the water was always warm and it smelled like sunlight. And at night there was the sound of the tree frogs and the music of the rushing water from the falls and all the songs of the night birds, and Mami would make the most delicious chilate, and Abuela would sing to us in the old language, and Soledad and I would gather herbs and dry them and bundle them for Papi to sell in the market when he had a day off, and that's how we passed our days.' Luca can see it. He's there, far away in the misty cloud forest, in a hut with a packed dirt floor and a cool breeze, with Rebeca and Soledad and their mami and abuela, and he can even see their father, far away down the mountain and through the streets of that clogged, enormous city, wearing a long apron and a chef's hat, and his pockets full of dried herbs. Luca can smell the wood of the fire, the cocoa and cinnamon of the chilate, and that's how he knows Rebeca is magical, because she can transport him a thousand miles away into her own mountain homestead just by the sound of her voice.

I do love Oregon." My gaze wanders over the quiet, natural beauty surrounding us, which isn't limited to just this garden. "Being near the river, and the ocean, and the rocky mountains, and all this nature ... the weather." He chuckles. "I've never met anyone who actually loves rain. It's kind of weird. But cool, too," he adds quickly, as if afraid to offend me. "I just don't get it." I shrug. "It's not so much that I love rain. I just have a healthy respect for what if does. People hate it, but the world needs rain. It washes away dirt, dilutes the toxins in the air, feeds drought. It keeps everything around us alive." "Well, I have a healthy respect for what the sun does," he counters with a smile." "I'd rather have the sun after a good, hard rainfall." He just shakes his head at me but he's smiling. "The good with the bad?" "Isn't that life?" He frowns. "Why do I sense a metaphor behind that?" "Maybe there is a metaphor behind that." One I can't very well explain to him without describing the kinds of things I see every day in my life. The underbelly of society - where twisted morals reign and predators lurk, preying on the lost, the broken, the weak, the innocent. Where a thirteen-year-old sells her body rather than live under the same roof as her abusive parents, where punks gang-rape a drunk girl and then post pictures of it all over the internet so the world can relive it with her. Where a junkie mom's drug addiction is readily fed while her children sit back and watch. Where a father is murdered bacause he made the mistake of wanting a van for his family. In that world, it seems like it's raining all the time. A cold, hard rain that seeps into clothes, chills bones, and makes people feel utterly wretched. Many times, I see people on the worst day of their lives, when they feel like they're drowing. I don't enjoy seeing people suffer. I just know that if they make good choices, and accept the right help, they'll come out of it all the stronger for it. What I do enjoy comes after. Three months later, when I see that thirteen-year-old former prostitute pushing a mower across the front lawn of her foster home, a quiet smile on her face. Eight months later, when I see the girl who was raped walking home from school with a guy who wants nothing from her but to make her laugh. Two years later, when I see the junkie mom clean and sober and loading a shopping cart for the kids that the State finally gave back to her. Those people have seen the sun again after the harshest rain, and they appreciate it so much more.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Picture a summer stolen whole from some coming-of-age film set in the small-town 1950s. This is none of Ireland's subtle seasons mixed for a connoisseur's palate, watercolor nuances within a pinch-sized range of cloud and soft rain; this is summer full-throated and extravagant in a hot pure silkscreen blue. This summer explodes on your tongue tasting of chewed blades of long grass, your own clean sweat, Marie biscuits with butter squirting through the holes and shaken bottles of red lemonade picnicked in tree houses. It tingles on your skin with BMX wind in your face, ladybug feet up your arm; it packs every breath full of mown grass and billowing wash lines; it chimes and fountains with birdcalls, bees, leaves and football-bounces and skipping-chants, One! two! three! This summer will never end. It starts every day with a shower of Mr. Whippy notes and your best friend's knock at the door, finishes it with long slow twilight and mothers silhouetted in doorways calling you to come in, through the bats shrilling among the black lace trees. This is Everysummer decked in all its best glory.

Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.

I remember as a child scrambling among the brilliants of books or, battered with agonies, or in the spectral half-life that requires loneliness, retiring to the attic, to lie curled in a great body-molded chair in the violet-lavender light from the window. There I could study the big adze-squared beams that support the roof--see how they are mortised on into another and pined in place with oaken dowels. When it rains from rustling drip to roar on the roof, it i s a fine secure place. Then the books, tinted with light, the picture books of children grown, seeded, and gone...

that was still okay because this place, our little cloud forest, even though we missed our papi, it was the most beautiful place you’ve ever seen. We didn’t really know that then, because it was the only place we’d ever seen, except in pictures in books and magazines, but now that I’ve seen other places, I know. I know how beautiful it was. And we loved it anyway even before we knew. Because the trees had these enormous dark green leaves, as big as a bed, and they would sway in the wind. And when it rained you could hear the big, fat raindrops splatting onto those giant leaves, and you could only see the sky in bright blue patches if you were walking a long way off to a friend’s house or to church or something, when you passed through a clearing and all those leaves would back away and open up and the hot sunshine would beat down all yellow and gold and sticky. And there were waterfalls everywhere with big rock pools where you could take a bath and the water was always warm and it smelled like sunlight. And at night there was the sound of the tree frogs and the music of the rushing water from the falls and all the songs of the night birds, and

But that was still okay because this place, our little cloud forest, even though we missed our papi, it was the most beautiful place you’ve ever seen. We didn’t really know that then, because it was the only place we’d ever seen, except in pictures in books and magazines, but now that I’ve seen other places, I know. I know how beautiful it was. And we loved it anyway even before we knew. Because the trees had these enormous dark green leaves, as big as a bed, and they would sway in the wind. And when it rained you could hear the big, fat raindrops splatting onto those giant leaves, and you could only see the sky in bright blue patches if you were walking a long way off to a friend’s house or to church or something, when you passed through a clearing and all those leaves would back away and open up and the hot sunshine would beat down all yellow and gold and sticky. And there were waterfalls everywhere with big rock pools where you could take a bath and the water was always warm and it smelled like sunlight. And at night there was the sound of the tree frogs and the music of the rushing water from the falls and all the songs of the night birds, and Mami would make the most delicious chilate, and Abuela would sing to us in the old language

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

It could snow We don’t take care. The end of November came without coldness, with haunting and limp rains, pretty much leaves still laying anywhere on the sidewalks. It comes a morning with another grey, compact, closed, air changes its texture. Under the pharmacy green cross the thermometer sticks, in red, two degrees. The number, a bit blurred thins down in the space. We didn’t expect it, but it grows, far inside us, the little sentence. It comes to the lips like a forgotten song: “It could snow …” We should not dare to mention it in loud voice, it is still so much autumn, all could finish in a stupid freezing sudden shower, in a fog of boredom. But the idea of a possible snow came back, it’s what matters. No downhill in a sledge-trash-bag, no snowman, no children shouting,no pictures of landscape metamorphosis. Largely best then all that, because the essential snow is inside the unformulated. Before. Something we didn’t know we knew. Before snow, before love, the same lack, the same dimmed grey which days’ triteness creates pretending to suffocate. We shall cross somebody: - This time it’s almost winter! - Yes we start to be crestfallen! Workers hang pieces of tinsel. We didn’t say too much. Especially do not frighten away the slight shade of the idea. The red thermometer went down, one degree. It could snow.

Blake’s lips were still tinged blue from the time he’d spent waiting for Livia in the rain. Livia decided to change that. She sat in his lap and pushed the hair out of his eyes. His hands found a sliver of bare skin at the small of her back. Livia knew his touch registered on her face when his lip lifted in a snarl. She let her head fall back so her hair would skim his hands. Blake blew on her neck. She knew what was next. She’d been picturing it since the meadow. His tongue was slow and meandering, and even though she should have been prepared, his teeth still made her gasp. Livia wanted to do so many bad things to him on the kitchen table. She was pretty sure she could actually speak in tongues if she tried right then.

Psychoanalysis: An Elegy" What are you thinking about? I am thinking of an early summer. I am thinking of wet hills in the rain Pouring water. Shedding it Down empty acres of oak and manzanita Down to the old green brush tangled in the sun, Greasewood, sage, and spring mustard. Or the hot wind coming down from Santa Ana Driving the hills crazy, A fast wind with a bit of dust in it Bruising everything and making the seed sweet. Or down in the city where the peach trees Are awkward as young horses, And there are kites caught on the wires Up above the street lamps, And the storm drains are all choked with dead branches. What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors - values, standards, my own limitations as an observer - make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of things doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I'm very good at sensing others' true feelings." But any number of times I've seen people who say they're easily hurt or hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are taken in by the most transparent flattery. It's enough to make me ask the question: how well do really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am. These are the kind of ideas I had running through my head when I was a teenager. Like a master builder stretches taut his string and lays one brick after another, I constructed this viewpoint - or philosophy of life, to put a bigger spin on it. Logic and speculation played a part in formulating this viewpoint, but for the most part it was based on my own experiences. And speaking of experience, a number of painful episodes taught me that getting this viewpoint of mine across to other people wasn't the easiest thing in the world. The upshot of all this is that when I was young I began to draw an invisible boundary between myself and other people. No matter who I was dealing with, I maintained a set distance, carefully monitoring the person's attitude so that they wouldn't get any closer. I didn't easily swallow what other people told me. My only passions were books and music. As you might guess, I led a lonely life.

I did not see the hanging. They hanged him in front of the jail in Toronto, and You should have been there Grace, say the keepers, it would have been a lesson to you. I've pictured it many times, poor James standing with his hands tied and his neck bare, while they put the hood over his head like a kitten to be drowned. At least he had a priest with him, he was not all alone. If it had not been for Grace Marks, he told them, none of it would have happened. It was raining, and a huge crowd standing in the mud, some of them come from miles away. If my own death sentence had not been commuted at the last minute, they would have watched me hang with the same greedy pleasure. There were many women and ladies there; everyone wanted to stare, they wanted to breathe death in like fine perfume, and when I read of it I thought, If this is a lesson to me, what is it I am supposed to be learning?

Erin. “No matter what else has happened, you’re water and your element is welcome in our circle, but we don’t need any negative energy here—this is too important.” I nodded to the spiders. Erin’s gaze followed mine and she gasped. “What the hell is that?” I opened my mouth to evade her question, but my gut stopped me. I met Erin’s blue eyes. “I think it’s what’s left of Neferet. I know it’s evil and it doesn’t belong at our school. Will you help us kick it out?” “Spiders are disgusting,” she began, but her voice faltered as she glanced at Shaunee. She lifted her chin and cleared her throat. “Disgusting things should go.” Resolutely, she walked to Shaunee and paused. “This is my school, too.” I thought Erin’s voice sounded weird and kinda raspy. I hoped that meant that her emotions were unfreezing and that, maybe, she was coming back around to being the kid we used to know. Shaunee held out her hand. Erin took it. “I’m glad you’re here,” I heard Shaunee whisper. Erin said nothing. “Be discreet,” I told her. Erin nodded tightly. “Water, come to me.” I could smell the sea and spring rains. “Make them wet,” she continued. Water beaded the cages and a puddle began to form under them. A fist-sized clump of spiders lost their hold on the metal and splashed into the waiting wetness. “Stevie Rae.” I held my hand out to her. She took mine, then Erin’s, completing the circle. “Earth, come to me,” she said. The scents and sounds of a meadow surrounded us. “Don’t let this pollute our campus.” Ever so slightly, the earth beneath us trembled. More spiders tumbled from the cages and fell into the pooling water, making it churn. Finally, it was my turn. “Spirit, come to me. Support the elements in expelling this Darkness that does not belong at our school.” There was a whooshing sound and all of the spiders dropped from the cages, falling into the waiting pool of water. The water quivered and began to change form, elongating—expanding. I focused, feeling the indwelling of spirit, the element for which I had the greatest affinity, and in my mind I pictured the pool of spiders being thrown out of our campus, like someone had emptied a pot of disgusting toilet water. Keeping that image in mind, I commanded: “Now get out!” “Out!” Damien echoed. “Go!” Shaunee said. “Leave!” Erin said. “Bye-bye now!” Stevie Rae said. Then, just like in my imagination, the pool of spiders lifted up, like they were going to be hurled from the earth. But in the space of a single breath the dark image reformed again into a familiar silhouette—curvaceous, beautiful, deadly. Neferet! Her features weren’t fully formed, but I recognized her and the malicious energy she radiated. “No!” I shouted. “Spirit! Strengthen each of the elements with the power of our love and loyalty! Air! Fire! Water! Earth! I call on thee, so mote it be!” There was a terrible shriek, and the Neferet apparition rushed forward. It surged from our circle, breaking over Erin

Yes, in the very beginning of her life the girl-child is full of herself. Her days are meaningful and unfold according to a deep wisdom that resides within her. It faithfully orchestrates her movements from crawling to walking to running, her sounds from garbles to single words to sentences, and her knowing of the world through her sensual connection to it. Her purpose is clear: to live fully in the abundance of her life. With courage, she explores her world. Her ordinary life is interesting enough. Every experience is filled with wonder and awe. It is enough to listen to the rain dance and count the peas on her plate. Ordinary life is her teacher, challenge, and delight. She says a big YES to Life as it pulsates through her body. With excitement, she explores her body. She is unafraid of channeling strong feelings through her. She feels her joy, sadness, anger, and fear. She is pregnant with her own life. She is content to be alone. She touches the depths of her uniqueness. She loves her mind. She expresses her feelings. She likes herself when she looks in the mirror. She trusts her vision of the world and expresses it. With wonder and delight, she paints a picture, creates a dance, and makes up a song. To give expression to what she sees is as natural as her breathing. And when challenged, she is not lost for words. She has a vocabulary to speak about her experience. She speaks from her heart. She voices her truth. She has no fear, no sense that to do it her way is wrong or dangerous. She is a warrior. It takes no effort for her to summon up her courage, to arouse her spirit. With her courage, she solves problems. She is capable of carrying out any task that confronts her. She has everything she needs within the grasp of her mind and imagination. With her spirit, she changes what doesn’t work for her. She says “I don’t like that person” when she doesn’t, and “I like that person” when she does. She says no when she doesn’t want to be hugged. She takes care of herself.

Lass.' Saga turned away to hide her smile. How like a fairy tale, that word. Rapunzel. A tall tower by a deep emerald lake. A dark green word, 'lass.' As she turned, she saw the bookcase beside the armchair- right out there in the garden! It was filled with with paperback books that looked as if they'd been read about a hundred times each. She saw Pride and Prejudice, she saw Middlemarch and The Quiet American. Titles she had seen forever on the shelves in Uncle Marsden's house. "What if it rains when you're not looking?" "These are the books everyone likes to read again and again, books you can lose because they'll reappear the minute you turn your back. They replace themselves," he said. Saga pictured this man with the dashing accent as the rescuer of Rapunzel. It was't outrageous in the least. He was handsome enough, though neither tall nor dark. His skin and hair were faintly golden, or they had been once upon a time, and his hands were long and slim like the hands of a prince. Piano hands, Aunt Liz would have said.

We'd reached the parking lot. Alex stopped. "You drive to school?" I demanded. He gestured me ahead of him through the break in the chain fence. "We don't all live five blocks away," he shot back. "It's eight, actually." "Fine,eight. And sometimes I walk." I pictured the stretch between Willing and Society Hill, where I knew he lived somewhere near Sadie. It was quite a distance, and not a particularly scenic one, especially at seven thirty in the morning. "Yeah? When was the last time?" He didn't answer immediately, leading the way now between the parked cars. He passed a big Jeep that still had its dealer plates, a low-slung-two-door Lexus, and a sick black BMW that all looked like just the sort of cars he would own. "April of last year," he admitted finally. "But it pissed rain on me the whole time, so that's gotta count for something." He stopped by the dented passenger door of an old green Mustang. "Your carriage, my lady." "Really? This is your car?" The door made a very scary sound when he opened it. "It's clean," he snapped, and I realized he'd totally missed my point. "It's amazing.

When I am away from Sandhill, sometimes the picture of it comes drifting toward me- just the picture of it, like some sunny little island I have got to get back to. And there's my family. Most of the time I seem to see them sort of like a bunch of picnickers in a nineteenth century painting, sitting around in the grass with their picnic baskets and their pretty dresses and parasols, and floating past on that island. I think, I've got to get back. I think, they need me there and I have got to get back to them. But when I go back, they laugh at me and rumple my hair and ask why I;m such a worrier. And I can't tell them why. There's nothing I can tell them. Pretty soon I leave again, on account of seeing myself so weak and speechless and worried. I get to thinking about something I just miss like hell in another town, like this tree on a street in Atlanta that has a real electric socket in it, right in the trunk, or the trolley cars in Philadelphia making that faraway lonesome sound as they pass down an empty street in the rain, through old torn-down slum buildings with nothing but a wallpapered sheet of brick and a set of stone steps left standing...

I think Hannah had two brothers. Yes, I’m sure she did. Theo and, and--this boy.” I shook my head. “If he’s Hannah’s brother, why isn’t he in any of the other pictures?” Aunt Blythe didn’t answer right away. In the silence, rain pattered against the windows and dripped through holes in the roof. The wind crept in through cracks and stirred the folds of a long white dress hanging from the rafters. Finally, my aunt raised her eyes from the photograph. “I think his name was Andrew. Isn’t that strange? You share a face and a name with a boy who died years before you were born.” My throat tightened. “He died? Andrew died?” Aunt Blythe looked at me. “Oh, dear,” she said, “I didn’t mean to frighten you.” “I’m not scared!” My voice came out as high and squeaky as a girl’s. Furious at myself for being such a baby, I leapt to my feet and headed for the stairs. “Slow down, Drew,” my aunt called. “You’ll go through the floor!” Before the words were out of her mouth, a board split under my weight, and I fell flat on my face. In seconds my aunt was beside me. “Are you all right?” she asked. “Did you hurt yourself?” “I’m fine.” Too embarrassed to meet her eyes, I peered into the hole I’d made.

Tom, will you let me love you in your restaurant? i will let you make me a sandwich of your invention and i will eat it and call it a carolyn sandwich. then you will kiss my lips and taste the mayonnaise and that is how you shall love me in my restaurant. Tom, will you come up to my empty beige apartment and help me set up my daybed? yes, and i will put the screws in loosely so that when we move on it, later, it will rock like a cradle and then you will know you are my baby Tom, I am sitting on my dirt bike on the deck. Will you come out from the kitchen and watch the people with me? yes, and then we will race to your bedroom. i will win and we will tangle up on your comforter while the sweat rains from your stomachs and foreheads. Tom, the stars are sitting in tonight like gumball gems in a little girl’s jewlery box. Later can we walk to the duck pond? yes, and we can even go the long way past the jungle gym. i will push you on the swing, but promise me you’ll hold tight. if you fall i might disappear. Tom, can we make a baby together? I want to be a big pregnant woman with a loved face and give you a squalling red daughter. no, but i will come inside you and you will be my daughter Tom, will you stay the night with me and sleep so close that we are one person, no, but i will lay down on your sheets and taste you. there will be feathers of you on my tongue and then I will never forget you Tom, when we are in line at the convenience store can I put my hands in your back pockets and my lips and nose in your baseball shirt and feel the crook of your shoulder blade? no, but later you can lay against me and almost touch me and when i go i will leave my shirt for you to sleep in so that always at night you will be pressed up against the thought of me. Tom, if I weep and want to wait until you need me will you promise that someday you will need me? no, but i will sit in silence while you rage. you can knock the chairs down any mountain. i will always be the same and you will always wait. Tom, will you climb on top of the dumpster and steal the sun for me? It’s just hanging there and I want it. no, it will burn my fingers. no one can have the sun: it’s on loan from god. but i will draw a picture of it and send it to you from richmond and then you can smooth out the paper and you will have a piece of me as well as the sun Tom, it’s so hot here, and I think I’m being born. Will you come back from Richmond and baptise me with sex and cool water? i will come back from richmond. i will smooth the damp spiky hairs from the back of your wet neck and then i will lick the salt off it. then i will leave Tom, Richmond is so far away. How will I know how you love me? i have left you. that is how you will know

HER FINGERS TOYED ABSENTLY WITH HER RINGS There are fallen angels in the way you look And great bridges over silent streams at your smile. Your gestures are a lonely princess dreaming over a book At a window over a lake, on some distant isle. If I were to stretch my hand and touch yours that would be Dawn behind the turrets of a city in some East. The words hidden in my gesture would be moonlight on the sea Of your being something in my soul like gaiety in a feast. Let your silence tell me of the numberless dreams that are you. Let the drooping of your eyelids prolong landscapes far away. The jets of water return on the listening of being untrue And this is the flower I pluck, with a sound, from what you unsay. Blossoms, blossoms, blossoms along the road of your going to speak. Eighteenth century gardens, so sad in the middle of our drearning them now, Are the way you are conscious of yourself on your eyelids, by your lips, through your cheek. A sick child sees the rain blur through the window of what you allow. Do not footfall the silence that is the palace where our consciousness Is living at seeing gardens our duplicate lives of one soul. What are we, in our dream of each other, but a picture which is The masterpiece of a painter that never painted at all? Fernando Pessoa, Poesia Inglesa (Organização e tradução de Luísa Freire. Prefácio de Teresa Rita Lopes.) Lisboa: Livros Horizonte, 1995.

With all cameras on me, Chip released the blindfold and said, “Ta-da!” I wasn’t sure what I was looking at. A shipwreck, maybe? On the back of a semi? “What is that?” I said. “I got this for you, Jo!” Chip replied. “That better not be for me,” I said. It was the ugliest, rundown-looking, two-story shack of a boat I’d ever seen. “What the heck are we going to do with a houseboat?” “That’s our new home!” Chip said, beaming with pride at his purchase. “What? You are crazy. We are not living on a houseboat.” It quickly dawned on me that this wasn’t a joke and Chip wasn’t even close to kidding. I wasn’t mishearing him. He was dead serious about making that boat our home for the next six months. I just about lost it. “How can we live on the water, Chip? Three of our kids don’t even know how to swim! Did you think this through?!” Then he fessed up and told me how much money he’d spent on it. As it all sank in, I realized I’d never been so mad at him--ever--and that’s saying something. “Come on. At least come look at it. I know this can work,” he pleaded. As soon as we walked a little closer, we could see the holes. Holes. In the boat. We pulled ourselves up onto the flatbed and went inside to find the interior covered in mold. Someone had taken the AC unit out on top and left a gaping hole in the roof, so for years it had rained straight into the boat. We tried turning the engine over, and of course it didn’t start. That’s when Chip got angry. “I think I got scammed,” he said. “Chip, did you even look at this thing before you bought it?” “Well, no,” he said. “It was a great deal, and there were all kinds of pictures. It looked like it was in great shape. Oh, wait a minute. I bet the guy just put up pictures of this thing from when he bought it, like in 1980 or something. That sorry sucker.” “Sorry sucker? Chip…” By this point I’m trying to decide if we could scrap it for parts.

The school is teeming with activity. The rooms are small and large, many are special-purpose rooms, like shops and labs, but most are furnished like rather shabby living or dining rooms in homes: lots of sofas, easy chairs, and tables. Lots of people sitting around talking, reading, and playing games. On an average rainy day—quite different from a beautiful suddenly snowy day, or a warm spring or fall day—most people are inside. But there will also be more than a few who are outside in the rain, and later will come in dripping and trying the patience of the few people inside who think the school should perhaps be a “dry zone.” There may be people in the photo lab developing or printing pictures they have taken. There may be a karate class, or just some people playing on mats in the dance room. Someone may be building a bookshelf or fashioning chain mail armor and discussing medieval history. There are almost certainly a few people, either together or separate, making music of one kind or another, and others listening to music of one kind or another. You will find adults in groups that include kids, or maybe just talking with one student. It would be most unusual if there were not people playing a computer game somewhere, or chess; a few people doing some of the school’s administrative work in the office—while others hang around just enjoying the atmosphere of an office where interesting people are always making things happen; there will be people engaged in role-playing games; other people may be rehearsing a play—it might be original, it might be a classic. They may intend production or just momentary amusement. People will be trading stickers and trading lunches. There will probably be people selling things. If you are lucky, someone will be selling cookies they baked at home and brought in to earn money. Sometimes groups of kids have cooked something to sell to raise money for an activity—perhaps they need to buy a new kiln, or want to go on a trip. An intense conversation will probably be in progress in the smoking area, and others in other places. A group in the kitchen may be cooking—maybe pizza or apple pie. Always, either in the art room or in any one of many other places, people will be drawing. In the art room they might also be sewing, or painting, and some are quite likely to be working with clay, either on the wheel or by hand. Always there are groups talking, and always there are people quietly reading here and there. One

It makes me more than sad, it makes my heart burn within me, to see that folk can make a jest of earnest men; of chaps who comed to ask for a bit o' fire for th' old granny, as shivers in th' cold; for a bit o' bedding, and some warm clothing to the poor wife as lies in labour on th' damp flags; and for victuals for the childer, whose little voices are getting too faint and weak to cry aloud wi' hunger. For, brothers, is not them the things we ask for when we ask for more wage? We donnot want dainties, we want bellyfuls; we donnot want gimcrack coats and waistcoats, we want warm clothes, and so that we get 'em we'd not quarrel wi' what they're made on. We donnot want their grand houses, we want a roof to cover us from the rain, and the snow, and the storm; ay, and not alone to cover us, but the helpless ones that cling to us in the keen wind, and ask us with their eyes why we brought 'em into th' world to suffer?" He lowered his deep voice almost to a whisper. "I've seen a father who had killed his child rather than let it clem before his eyes; and he were a tender-hearted man." He began again in his usual tone. "We come to th' masters wi' full hearts, to ask for them things I named afore. We know that they've gotten money, as we've earned for 'em; we know trade is mending, and that they've large orders, for which they'll be well paid; we ask for our share o' th' payment; for, say we, if th' masters get our share of payment it will only go to keep servants and horses, to more dress and pomp. Well and good, if yo choose to be fools we'll not hinder you, so long as you're just; but our share we must and will have; we'll not be cheated. We want it for daily bread, for life itself; and not for our own lives neither (for there's many a one here, I know by mysel, as would be glad and thankful to lie down and die out o' this weary world), but for the lives of them little ones, who don't yet know what life is, and are afeard of death. Well, we come before th' masters to state what we want, and what we must have, afore we'll set shoulder to their work; and they say, 'No.' One would think that would be enough of hard-heartedness, but it isn't. They go and make jesting pictures of us! I could laugh at mysel, as well as poor John Slater there; but then I must be easy in my mind to laugh. Now I only know that I would give the last drop o' my blood to avenge us on yon chap, who had so little feeling in him as to make game on earnest, suffering men!