Rhythms Of Grace Quotes

Why am I afraid to dance, I who love music and rhythm and grace and song and laughter? Why am I afraid to live, I who love life and the beauty of flesh and the living colors of the earth and sky and sea? Why am I afraid to love, I who love love?

Beauty of style and harmony and grace and good rhythm depend on simplicity

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - these qualities you find always in that the true artist captures. You can find it in the turning of the seasons, the way sand trails along a ridge, in the branch clusters of the creosote bush of the pattern of its leaves. We try to copy these patterns in our lives and in our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.

Beauty of style and harmony and grace and good rhythm depend on simplicity – I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only a euphemism for folly.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

Learn the unforced rhythms of grace.

Never underestimate the grace of bouncing back from a fallen heart.

He was half again my size, but when we embraced, I felt like I was holding him up, and it was all I could do to remain standing. He buried his face in my hair, his body shaking against me with the spasmodic rhythm of unrestrained sobs. It was almost more than I could bear gracefully.

As a Scot and a Presbyterian, my father believed that man by nature was a mess and had fallen from an original state of grace. Somehow, I early developed the notion that he had done this by falling from a tree. As for my father, I never knew whether he believed God was a mathematician but he certainly believed God could count and that only by picking up God's rhythms were we able to regain power and beauty. Unlike many Presbyterians, he often used the word "beautiful.

We trust nature to know what it is doing, but we are not nearly so kind, understanding and trusting of our own rhythms and cycles. It's ridiculous that we are so hard on ourselves. Can we not trust that the very same forces that created the rhythms and cycles of nature created our own? Of course we can. We often don't, but we can, if we remember.

Grace rocked through the rhythm and stepped forward towards the audience and the edge of the stage, looking out over the crowd.People screamed louder. Strangely enough, I could hear Lea screaming, “That’s my best friend, bitches,” over everyone.

Are you tired? Worn out? Burned out on religion? Come to me. Get away with me and you’ll recover your life. I’ll show you how to take a real rest. Walk with me and work with me—watch how I do it. Learn the unforced rhythms of grace. I won’t lay anything heavy or ill-fitting on you. Keep company with me and you’ll learn to live freely and lightly.

Are you tired? Worn out? Burned out on religion? Come to me. Get away with me and you'll recover your life. I'll show you how to take a real rest. Walk with me and work with me—watch how I do it. Learn the unforced rhythms of grace. I won't lay anything heavy or ill-fitting on you. Keep company with me and you'll learn to live freely and lightly.

She rose with the grace that was inherent to her every move ... Perhaps she did everything to a rhythm only she could hear.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace—those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move toward death.

For a New Beginning In out-of-the-way places of the heart, Where your thoughts never think to wander, This beginning has been quietly forming, Waiting until you were ready to emerge. For a long time it has watched your desire, Feeling the emptiness growing inside you, Noticing how you willed yourself on, Still unable to leave what you had outgrown. It watched you play with the seduction of safety And the gray promises that sameness whispered, Heard the waves of turmoil rise and relent, Wondered would you always live like this. Then the delight, when your courage kindled, And out you stepped onto new ground, Your eyes young again with energy and dream, A path of plenitude opening before you. Though your destination is not yet clear You can trust the promise of this opening; Unfurl yourself into the grace of beginning That is at one with your life’s desire. Awaken your spirit to adventure; Hold nothing back, learn to find ease in risk; Soon you will be home in a new rhythm, For your soul senses the world that awaits you.

Worship isn’t merely a yes to the God who saves, but also a resounding and furious no to the lies that echo in the mountains around us.

Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.

In Jewish culture, days begin in the evening with the setting of the sun. (We see this in Genesis 1 with the repetition of “And there was evening and there was morning.”) The day begins with rest. We start by settling down and going to sleep. This understanding of time is powerfully reorienting, even jarring, to those of us who measure our days by our own efforts and accomplishments. The Jewish day begins in seemingly accomplishing nothing at all. We begin by resting, drooling on our pillow, dropping off into helplessness. Eugene Peterson says, “The Hebrew evening/morning sequence conditions us to the rhythms of grace. We go to sleep and God begins his work.

Rhythm and harmony permeate the innermost element of the soul, affect it more powerfully than anything else, and bring it grace, such education makes one graceful if one is properly trained, and the opposite if one is not.

Are you tired? Worn out? Burned out on religion? Come to me. Get away with me and you’ll recover your life. I’ll show you how to take a real rest. Walk with me and work with me—watch how I do it. Learn the unforced rhythms of grace. I won’t lay anything heavy or ill-fitting on you. Keep company with me and you’ll learn to live freely and lightly. MATTHEW 11:28-30 THE MESSAGE

isn’t this why the rearing in music is most sovereign? Because rhythm and harmony most of all insinuate themselves into the inmost part of the soul and most vigorously lay hold of it in bringing grace with them; and they make a man graceful if he is correctly reared, if not, the opposite.

When we merge our internal rhythms with the rhythms of creation, we develop grace in our movement, and without thought or effort we are able to slide into the perfectly choreographed dance of life.

When the heart stops oozing blood & the outpouring is clear as water (so to speak) then you know you've turned the corner & will be well. When you look inward & all pathways are no longer dark but clearly lighted & shine like transparent drinking straws then you know you'll find your way alone. When the gray morning has nothing to do with you & doesn't weigh you down like a heavy blanket, then you know that moving will be easy again and your body will flow through time like the river it really is, smooth & deep. no rocks, no shallows to smash or catch you, keep you from moving on. When the heart slows to its normal rhythm and the beauty of birdsong at dawn doesn't make you cry because you are alone listening, then you know that everything has happened that is going to for now, and you can get on with your life & everything about it that was yours alone and always finer than anyone could ever imagine it would be without him.

One of the greatest gifts for my life as one who serves God is observing the Sabbath. Celebrating a holy day and living in God's rhythm for six days of work and one of rest is the best way I know to learn the sense of our call - the way in which God's Kingdom reclaims us, revitalizes us, and renews us so that it can reign through us. Before we can engage in the practice of our call, we need to be captured afresh by grace, carried by it, and cared for.

And therefore, I said, Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognize and salute the friend with whom his education has made him long familiar… …Thus much of music, which makes a fair ending; for what should be the end of music if not the love of beauty?

There stirred behind her face a sense of life and purpose and mirth and caring that made her seem to be in motion even as she was still. There was a kind of rhythm to her, even in motionless repose. I said, “Energy contained by grace, maybe.

Jesus’ words to his disciples are just as true for us today. We will weep and mourn. We will have sorrow. And our sorrow will turn to joy. Today, in the tension of pain that persists, we are living the reality Jesus named. Here we find the descending, rising rhythm that creates our new life. As Henri Nouwen says, “It is the way in which pain can be embraced, not out of a desire to suffer, but in the knowledge that something new will be born in the pain.”4 In our longing for tension to be relieved, we cannot miss that Jesus said sorrow comes before joy. This is the church’s story: sorrow comes before the song.

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

asking your teenage son or daughter to go to bed and fall asleep at ten p.m. is the circadian equivalent of asking you, their parent, to go to sleep at seven or eight p.m. No matter how loud you enunciate the order, no matter how much that teenager truly wishes to obey your instruction, and no matter what amount of willed effort is applied by either of the two parties, the circadian rhythm of a teenager will not be miraculously coaxed into a change. Furthermore, asking that same teenager to wake up at seven the next morning and function with intellect, grace, and good mood is the equivalent of asking you, their parent, to do the same at four or five a.m.

There are no guarantees that if we keep the Sabbath we will be successful. But honouring the Sabbath (and not overworking the other six days) will give us an opportunity to grow in our trust of God and experience his faithfulness. If we take time to honour the Sabbath we may actually find that we are less productive than we were before...God's provision for us as we honour his rhythms may be the grace to accept being passed over for a promotion, while gaining a greater sense of fulfillment as we do our work more aware of God, ourselves, and the people around us.

It is without grace. There is no rhythm in this country of dirt.

The seasons teach us how to do life well, revealing a life-giving rhythm: we flourish through intentional periods of stillness, growth, hard work, and rest.

think that you can make a habit of working a sixty- to eighty-hour week without crashing and burning or creating havoc elsewhere is delusional.

I speak the unseen into seeing and I can feel it, this steady breathing in the rhythm of grace--'give thanks (in), give thanks (out)'.

We do not go to church to worship. But as continuing worshipers, we gather ourselves together to continue our worship, but now in the company of brothers and sisters.5

The point of simplicity is not efficiency, increased productivity or even living a healthier, more relaxed life. The point is making space for treasuring God's own self.

He will give you the words to speak, the rhythm to sing, and the actions to do.

The presence of the power of Christ transforms every believer into a relational vessel whose heart can be used by God to connect the hearts of others to his grace, truth and love.

Desire has its own rhythms. Sometimes it ebbs and sometimes it flows. But in the end it is the deepening of spiritual desire and the discipline to arrange our life around our desire that carries us from the shallow waters of superficial human wanting into our soul’s movement in the very depths of God. Sometimes the tide brings us closer in to the shore and the soul frolics in the waves. But increasingly we find our life to be hidden in the depths of God, and whatever is seen on the surface springs up from those depths full of beauty and grace.

Do you believe in God?' Grace asked him. The question was not strange. They were past strangeness. 'Of course' he replied. It was easier than the truth, simpler. 'Why?' 'Because without God' he started, his voice slipping easily into the lilting rhythm of recitation, 'we have no reason to believe in reason. Without God, our reason is an accident of the cosmos, as ultimately inconsequential as the spinning of the planet or the pulling of the tides. Reason becomes unimportant, and hence untenable. Without God we have only belief, and yet we are left with nothing to believe in'.

You may move eloquently, so you think, to the rhythm of some fated dance for some projected eternity, but if that fate is neither yours nor the work of your own hands, a rag doll knows more grace.

Civilization was a dance, and the ancient Wyr were late to the ball. They donned masks and slipped with silent predatory grace into the ballroom. They watched with sharp eyes that glittered deep in the shadows behind their assumed facades, recording and learning the twist and rhythm of the dance, the social mores, when to bow and press their lips to the back of the hand, how to smile and say good evening, please and thank you and yes, I shall take more sugar with my tea. All the while they noted the pulse that fluttered at the base of the dancers' necks, the scents of sweat and the quickened breath.

Learn to enjoy this tidying process. I don’t like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I’m coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that won the game.

His accent was delicious. A result of British deliberateness changed by the rhythm of an African tongue and the grace of African lips. I moved away after smiling, needing to sit apart and collect myself. I had not met such a man.

A few months ago on a school morning, as I attempted to etch a straight midline part on the back of my wiggling daughter's soon-to-be-ponytailed blond head, I reminded her that it was chilly outside and she needed to grab a sweater. "No, mama." "Excuse me?" "No, I don't want to wear that sweater, it makes me look fat." "What?!" My comb clattered to the bathroom floor. "Fat?! What do you know about fat? You're 5 years old! You are definitely not fat. God made you just right. Now get your sweater." She scampered off, and I wearily leaned against the counter and let out a long, sad sigh. It has begun. I thought I had a few more years before my twin daughters picked up the modern day f-word. I have admittedly had my own seasons of unwarranted, psychotic Slim-Fasting and have looked erroneously to the scale to give me a measurement of myself. But these departures from my character were in my 20s, before the balancing hand of motherhood met the grounding grip of running. Once I learned what it meant to push myself, I lost all taste for depriving myself. I want to grow into more of a woman, not find ways to whittle myself down to less. The way I see it, the only way to run counter to our toxic image-centric society is to literally run by example. I can't tell my daughters that beauty is an incidental side effect of living your passion rather than an adherence to socially prescribed standards. I can't tell my son how to recognize and appreciate this kind of beauty in a woman. I have to show them, over and over again, mile after mile, until they feel the power of their own legs beneath them and catch the rhythm of their own strides. Which is why my parents wake my kids early on race-day mornings. It matters to me that my children see me out there, slogging through difficult miles. I want my girls to grow up recognizing the beauty of strength, the exuberance of endurance, and the core confidence residing in a well-tended body and spirit. I want them to be more interested in what they are doing than how they look doing it. I want them to enjoy food that is delicious, feed their bodies with wisdom and intent, and give themselves the freedom to indulge. I want them to compete in healthy ways that honor the cultivation of skill, the expenditure of effort, and the courage of the attempt. Grace and Bella, will you have any idea how lovely you are when you try? Recently we ran the Chuy's Hot to Trot Kids K together as a family in Austin, and I ran the 5-K immediately afterward. Post?race, my kids asked me where my medal was. I explained that not everyone gets a medal, so they must have run really well (all kids got a medal, shhh!). As I picked up Grace, she said, "You are so sweaty Mommy, all wet." Luke smiled and said, "Mommy's sweaty 'cause she's fast. And she looks pretty. All clean." My PRs will never garner attention or generate awards. But when I run, I am 100 percent me--my strengths and weaknesses play out like a cracked-open diary, my emotions often as raw as the chafing from my jog bra. In my ultimate moments of vulnerability, I am twice the woman I was when I thought I was meant to look pretty on the sidelines. Sweaty and smiling, breathless and beautiful: Running helps us all shine. A lesson worth passing along.

What if you began to see your art as something other than your idea? What if it was less lofty and more necessary to your daily rhythm? What if your art is part of a bigger picture, part of a daily grace God has in mind for someone else?

From the middle of a tomb whose lights burn only for survival…our tired bodies finally understand and obey our beating hearts. Meet me in the country, Meet me in the country, The city's breath is getting way too evil to breathe. Meet us in the country, Leave the pigs and rats in the city— Under the gypsy sun, we all will clearly reach the grace of living—…to give and receive with love and ease. We'll dance to the drums of the open life… love is the rhythm of man and wife… faith in the beat for everyone. God breathes music…through the life of the Gypsy Sun…

Love, stealing with grace into the heart you wish to destroy, love, turning us blind with the bitter poison of desire, love come not my way. And when you whirl through the streets, wild steps to unchained rhythms, love, I pray you, brush not against me, love, I beg you, pass me by.

When I describe for my far-away friends the Northwest’s subtle shades of weather — from gloaming skies of ‘high-gray’ to ‘low-gray’ with violet streaks like the water’s delicate aura — they wonder if my brain and body have, indeed, become water-logged. Yet still, I find myself praising the solace and privacy of fine, silver drizzle, the comforting cloaks of salt, mold, moss, and fog, the secretive shelter of cedar and clouds. Whether it’s in the Florida Keys, along the rocky Maine coast, within the Gulf of Mexico’s warm curves, on the brave Outer Banks; or, for those who nestle near inland seas, such as the brine-steeped Great Salk Lake or the Midwest’s Great Lakes — water is alive and in relationship with those of us who are blessed with such a world-shaping, yet abiding, intimate ally. Every day I am moved by the double life of water — her power and her humility. But most of all, I am grateful for the partnership of this great body of inland sea. Living by water, I am never alone. Just as water has sculpted soil and canyon, it also molds my own living space, and every story I tell. …Living by water restores my sense of balance and natural rhythm — the ebb and flow of high tides and low tides, so like the rise and fall of everyday life. Wind, water, waves are not simply a backdrop to my life, they are steady companions. And that is the grace, the gift of inviting nature to live inside my home. Like a Chambered Nautilus I spin out my days, drifting and dreaming, nurtured by marine mists, like another bright shell on the beach, balancing on the back of a greater body.

Splendor, you are powerful. You have to use that power for good.' 'But… I’ve never been more than just me,' I said, 'and I’m new to this, too.' 'And you have the Lord your God behind you, and He cannot be shaken. He will give you the words to speak, the rhythm to sing, and the actions to do. You can do this. You can save the world.

Bradley is one of the few basketball players who have ever been appreciatively cheered by a disinterested away-from-home crowd while warming up. This curious event occurred last March, just before Princeton eliminated the Virginia Military Institute, the year's Southern Conference champion, from the NCAA championships. The game was played in Philadelphia and was the last of a tripleheader. The people there were worn out, because most of them were emotionally committed to either Villanova or Temple-two local teams that had just been involved in enervating battles with Providence and Connecticut, respectively, scrambling for a chance at the rest of the country. A group of Princeton players shooting basketballs miscellaneously in preparation for still another game hardly promised to be a high point of the evening, but Bradley, whose routine in the warmup time is a gradual crescendo of activity, is more interesting to watch before a game than most players are in play. In Philadelphia that night, what he did was, for him, anything but unusual. As he does before all games, he began by shooting set shots close to the basket, gradually moving back until he was shooting long sets from 20 feet out, and nearly all of them dropped into the net with an almost mechanical rhythm of accuracy. Then he began a series of expandingly difficult jump shots, and one jumper after another went cleanly through the basket with so few exceptions that the crowd began to murmur. Then he started to perform whirling reverse moves before another cadence of almost steadily accurate jump shots, and the murmur increased. Then he began to sweep hook shots into the air. He moved in a semicircle around the court. First with his right hand, then with his left, he tried seven of these long, graceful shots-the most difficult ones in the orthodoxy of basketball-and ambidextrously made them all. The game had not even begun, but the presumably unimpressible Philadelphians were applauding like an audience at an opera.

Aware she’d likely never tasted such a thing before, she took a cautious sip. Nothing came up. “The straw’s defective.” Dev shot her a quick grin. It altered his face, turning him strikingly beautiful. But that wasn’t the odd part. The odd part was that seeing him smile made her heart change its rhythm. She lifted her hand a fraction, compelled to trace the curve of his lips, the crease in his cheek. Would he let her, she thought, this man who moved with the liquid grace of a soldier . . . or a beast of prey? “Did I say milk shake?” he said, withheld laughter in his voice. “I meant ice cream smoothie—with enough fresh fruit blended into it to turn it solid.” Glancing at her when she didn’t move, he raised an eyebrow. She felt a wave of heat across her face, and the sensation was so strange, it broke through her fascination. Looking down, she took off the lid after removing the straw and stared at the swirls of pink and white that dominated the delicious-smelling concoction. Intrigued, she poked at it with the tip of her straw. “I can see pieces of strawberry, and what’s that?” She looked more closely at the pink-coated black seeds. “Passion fruit?” “Try it and see.” Handing her his water bottle, he started the car and got them on their way. “How would I know?” She put his water in the holder next to the unopened bottle. “And I need a spoon for this.” Reaching into a pocket, he pulled out a plastic-wrapped piece of cutlery. “Here.” “You did that on purpose,” she accused. “Did you want to see how hard I’d try to suck the mixture up?” Another smile, this one a bare shadow. “Would I do that?” It startled her to realize he was teasing her. Devraj Santos, she thought, wasn’t supposed to have a sense of humor. That was something she just knew. And, it was wrong. That meant the shadow-man didn’t know everything, that he wasn’t omnipotent. A cascade of bubbles sparkled through her veins, bright and effervescent. “I think you’re capable of almost anything.” Dipping in the spoon, she brought the decadent mixture to her lips. Oh! The crisp sting of ice, the cream rich and sweet, the fruit a tart burst of sensation. It was impossible not to take a second bite. And a third.

Sanguines are usually graceful and full of life. They notice and respond to everything and everyone in their environment. They move quickly from one impression or experience to the next and rarely remain with anything for long. They can therefore be restless, distractible, or fickle. Sanguines tend to be sociable, for they are personable, vivacious, and light-hearted.

I wish I could show you how an interrogation can have its own beauty, shining and cruel as that of a bullfight; how in defiance of the crudest topic or the most moronic suspect it keeps inviolate its own taut, honed grace, its own irresistible and blood-stirring rhythms; how the great pairs of detectives know each other’s every thought as surely as lifelong ballet partners

And therefore, I said, Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful: and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justify blame and hate the bad, now in the days of his youth, even before he will recognize and salute the friend with whom his education has made him long familiar.

ON TIME RUTH HALEY BARTON There have to be times in your life when you move slow, times when you walk rather than run, settling into each step . . . There have to be times when you stop and gaze admiringly at loved ones, marveling that they have been given to you for this life . . . times when hugs linger and kisses are real, when food and drink are savored with gratitude and humility rather than gulped down on your way to something else. There have to be times when you read for the sheer pleasure of it, marveling at the beauty of words and the endless creativity in putting them together . . . times when you settle into the comforts of home and become human once again. There have to be times when you light a candle and find the tender place inside you that loves or sorrows or sings and you pray from that place, times when you let yourself feel, when you allow the tears to come rather than blinking them back because you don’t have time to cry. There have to be times to sink into the soft body of yourself and love what you love simply because love itself is a grace . . . times when you sit with gratitude for the good gifts of your life that get lost and forgotten in the rush of things . . . times to celebrate and play to roll down hills to splash in water or make leaf piles to spread paint on paper or walls or each other. There have to be times to sit and wait for the fullness of God that replenishes body, mind, and soul— if you can even stand to be so full. There has to be time for the fullness of time or time is meaningless.

The whole affair was the precise opposite of what I figured it would be: slow and patient and quiet and neither particularly painful nor particularly ecstatic. There were a lot of condomy problems that I did not get a particularly good look at. No headboards were broken. No screaming. Honestly, it was probably the longest time we’d ever spent together without talking. Only one thing followed type: Afterward, when I had my face resting against Augustus’s chest, listening to his heart pound, Augustus said, “Hazel Grace, I literally cannot keep my eyes open.” “Misuse of literality,” I said. “No,” he said. “So. Tired.” His face turned away from me, my ear pressed to his chest, listening to his lungs settle into the rhythm of sleep. After a while, I got up, dressed, found the Hotel Filosoof stationery, and wrote him a love letter:

The Lord wants to have an ongoing conversation with us throughout the daily rhythms of our life. He is intimately acquainted with all of our ways. As we speak to Him, we acknowledge His presence and His involvement in our lives. This is what Paul means by praying continually (1 Thessalonians 5:17). Since our minds continue working all the time, our silent thoughts and prayers can constantly be offered to him in a running dialogue.

There can be no nobler training than that, he replied. And therefore, I said, Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognise and salute the friend with whom his education has made him long familiar. Yes,

He look back toward the dance floor and greeted his teeth. She was in Tristan's arms moving gracefully in rhythm with the music. Tristan with cutting quite a swath through the ladies, he knew it shouldn’t grate that his brother was dancing with Mary. Tristan knew more than he knew any of the others. It was expected. But still he didn’t like the way Tristan watched her through hooded eyes. But then Tristan caught his gaze an issue a silent challenge: cut in. I dare you.

We must accept that we will sometimes be misunderstood. Jesus was misunderstood, and He didn’t go around to each person to make sure they understood “His heart.” I’m all for making peace with others, but even Jesus could not be at peace with everyone. There will be people who will disagree with you. Sometimes they will misunderstand you and misjudge you. When that happens, keep your focus on pleasing one person — Christ — and let the fruit of your life speak for itself.

FOR A NEW BEGINNING In out-of-the-way places of the heart, Where your thoughts never think to wander, This beginning has been quietly forming, Waiting until you were ready to emerge. For a long time it has watched your desire, Feeling the emptiness growing inside you, Noticing how you willed yourself on, Still unable to leave what you had outgrown. It watched you play with the seduction of safety And the gray promises that sameness whispered, Heard the waves of turmoil rise and relent, Wondered would you always live like this. Then the delight, when your courage kindled, And out you stepped onto new ground, Your eyes young again with energy and dream, A path of plenitude opening before you. Though your destination is not yet clear You can trust the promise of this opening; Unfurl yourself into the grace of beginning That is at one with your life’s desire. Awaken your spirit to adventure; Hold nothing back, learn to find ease in risk; Soon you will be home in a new rhythm, For your soul senses the world that awaits you.

This bears relevance to the issue of our wholeness. Your nervous system is imprinted with the rhythms of the mechanical sounds in which it is immersed—your cells tugged by the frenzy of its jittery beat. You may not even realize how long it’s been since they’ve come truly to rest until you move so far into nature that you escape all audible evidence of machinery. If you can remain there long enough, you may feel the undercurrent of driving, repetitive white noise slowly leave your body, making room for the spacious orchestra of the wide world around you.

One of the King James Bible’s most consistent driving forces is the idea of majesty. Its method and its voice are far more regal than demotic. Its archaic formulations, its consistent attention to a grand and heavily musical rhythm are the vehicles by which that majesty is infused into the body of the text. Its qualities are those of grace, stateliness, scale, power. There is no desire to please here; only a belief in the enormous and overwhelming divine authority, of which royal authority, ‘the powers that be’ as they translated the words of St Paul, was an adjunct and extension

God loves messy things. Really. He loves broken people. He loves earnest half efforts that don’t look right to everyone else. God is crazy about loud children (and self-conscious adults) who don’t exactly know how to do the worship thing right but come and give it a shot anyway, because they know that some little bit of God is better than the nothing they have. This is what Christians call grace. And grace is the church at its best, the AA of spirituality: Sinners Anonymous, where the only thing you have to show off is your scars. The only ticket that gets you in is the list of reasons you should be kicked out.

And so he lay, the moonlight washing over the incomparable smooth white of his back, its brilliance highlighting the graceful lines of his body to reveal the subtle but persuasive hint of firm masculinity that made it clear that this was the flesh not of a woman but of a still immature young man. The moon shone with dazzling brightness on Kiyoake’s left side, where the pale flesh pulsed softly in rhythm with his heartbeat. Here there were three small, almost invisible moles. And much as the three stars in Orion’s belt fade in strong moonlight, so too these three moles were almost blotted out by its rays. (p.43)

Aggressive music has always been a liberator for me; however, hard tunes with no soul quickly wear thin. H.R. exhibited soul where it could not be found previously. His lyrics contributed an urgency fueled by spirituality and a call to social justice, which substantiated the ferocity of the Bad Brains’ earth-shattering soundscapes. This included the instances when Bad Brains broke it down to a mesmerizing, skank-drenched reggae rhythm. H.R.’s vocal style was otherworldly; ever vacillating between combative and graceful expression; all the while thrusting forth a righteous dose of rebellion served with a side of hope.  

CORE MEDITATION: Breathing This classic meditation can deepen concentration by teaching us to focus on the “in breath” and the “out breath.” Sit comfortably on a cushion or chair and keep your back upright, without straining or overarching. If you can’t sit, then lie on your back on a yoga mat or folded blanket with your arms at your sides. Just be at ease and close your eyes, or gaze gently a few feet in front of you and aim for a state of alert relaxation. Take three or four deep breaths, feeling the air as it enters your nostrils, fills your chest and abdomen, and flows out again. Then let your breathing settle into a natural rhythm, and just feel the breath as it happens, without trying to change it or improve it—all you have to do is feel it. Notice where you sense your breath most intensely. Perhaps it’s at the nostrils, or at the chest or abdomen. Then rest your attention as lightly as a butterfly rests on a flower—only on that area—and become aware of the sensations there. For example, if you’re focusing on the breath at the nostrils, you may experience tingling, vibration, or pulsing, or you may observe that the breath is cooler when it comes in and warmer when it goes out. If you’re focusing on the breath at the abdomen, you may feel movement, pressure, stretching, or release. You don’t need to name these feelings—simply let your attention rest on them, one breath at a time. (Notice how often the word rest comes up in this instruction. This is a very restful practice). You don’t need to make the inhalation deeper or longer or different from the way it is. Just be aware of it, one breath at a time. Whenever you notice your attention has wandered and your mind has jumped to the past or the future, to judgment or speculation, don’t worry about it. Seeing your attention has wandered is the signal to gently let go of whatever has distracted you and return your attention to the feeling of the breath. If you have to let go over and over again, that’s fine—being able to more gracefully start over when we’ve become distracted or disconnected is one of the biggest benefits of meditation practice.

the true honour of things; we become alternately merchants and merchandise, and we ask, not what a thing truly is, but what it costs.” –Seneca, c. 4 BC–65 AD “To you, all you have seems small: to me, all I have seems great. Your desire is insatiable, mine is satisfied. See children thrusting their hands into a narrow-necked jar, and striving to pull out the nuts and figs it contains: if they fill the hand, they cannot pull it out again, and then they fall to tears. Let go a few of them, and then you can draw out the rest!’ You, too, let your desire go! Covet not many things, and you will obtain.” –Epictetus, 55–135 AD “Beauty of style and harmony and grace and good rhythm depend on simplicity.” –Plato, c. 427 BC–c. 347 BC “The only wealth which you will keep forever is the wealth you have given away.” –Marcus Aurelius, 121–180 AD

As the days shorten, I begin to feel the clutch of anxiety and not understand why. It takes time before i can consciously connect the slow dying of the sun to the despair that blooms in the dark. Unsettled, I too often seek solace in frenetic distraction, pressing my gaze to text messages or emails or the ceaseless minutiae of social media. AS if the illusion of action could banish the specter of sunless gloom. But rather than shirk the abyss, what if we scoped its depths? What if we stared darkness in the face and saw, at that pure ridge, the truth of our essential finity? Like the begonias and the fallen leaves of wintertime, we will die. We will die. We will die. Someday. Though painful to receive this knowledge is a gift. Embracing the reality of death sparks life. In winter’s existential chill, we can feel, as MacLaughlin writes, “The temporary heat of our aliveness burning at its hottest.” The heat is only temporary. Yes, we will die. But today we live. Now—in this flash of precious, precious time—we live. We live. We live. Now. In the face of inevitable death—the hollowed stalks, the still, still mornings, the green gone gray— we can acknowledge the life sparking in our bones. Heartbeats and breath unbidden, synapses sparking in a rhythm beyond our powers of control. In short, utter grace. “A Long and Chilly Vigil: On Winter,” pg. 146

I had been walking through the Chakara Forest. Fat moths the size of palms wreathed my hair like pearls and moonstones. And then, as I had done since before language burgeoned in the velvet clefts of the mind--I danced. Not a slow dance, but sharp, punctual movements. My dance organized the shadows of trees, canceled the cloying plumes of wind-fallen fruit, aligned the moonbeams themselves. My back arced gracefully as I moved, neck extended like an oryx, fingers conjuring sharp kathas of rhythm, when a sound crunched not far from me. I spun around. “Who’s there?” From beneath the heart-shaped leaves of a peepal tree, something rustled. And a voice, so lush it made ambrosia acrid, answered me. “Only the lowly painter who tries each night, in vain, to capture evening herself.” “What do you want? Show yourself.” The stranger stepped out of the peepal tree. He was broad-shouldered, his features as severely beautiful as a strike of lightning. He wore a crown of blackbuck horns that arced in graceful whorls of onyx, catching the light. But it was his gaze that robbed the clamoring rhythm in my chest. His stare slipped beneath my skin. And when he saw my eyes widen, he smiled. And in that moment, his smile banished my loneliness and limned the hollows of my anima with starlight, pure and bright. He moved toward me, grasping my hand, and his touch hummed in my bones like an aria. A song to my dance. The beginning of a promise.

She squirmed with delight, making him groan. Her wriggling must test him. Some devil made her move again. "Jesus, Grace," he gritted out. "You try my limits." "I hope so," she purred. He felt so wonderful inside her. As if he supplied part of her that she only realized now she'd lacked. She bent her knees and tilted her hips so he went deeper. She ran her hands down the tense muscles of his back. He flexed under her touch. "That felt good," she said breathlessly. "Do it again." "If I start, I won't stop." his voice was rough. "Start." She shifted again and felt him shudder. "Grace," he grated out. He withdrew, then plunged into her. Her nails sank into his back and her womb clenched in welcome. With deliberate slowness, he set the familiar rhythm. Except none of this was familiar. Every time he settled in her body, he forged an emotional connection that nothing could sever. On and on he went. Possession. Release. Possession. Release. Every thrust another link in the chain that bound her to him. Eventually his inhuman control fractured and he drove into her faster, more wildly. With every thrust, her excitement built. It echoed how she'd felt when he kissed her between the legs. That had been wonderful, astounding.But this was more powerful. Because he was with her. He pounded into her as though he meant to crush her. She didn't care. She never wanted this spiraling feeling to end. The storm swirled her higher and higher. Ecstasy poised her on a knife edge. She cried out and rose to meet him. He changed the angle of his penetration and went even deeper. The pleasure edged close to pain. She tensed as he pressed hard inside her. Then her womb opened and she took all of him. Her inner muscles convulsed into spasms of delight and she screamed. Violent rapture flung her against the doors of heaven itself. She was lost in a hot, dark world where nothing existed except Matthew. All she could do was hold him and prayed she survived. Through the tempest that blasted her, he reached his climax. He groaned and convulsed in her arms. For this moment, he was unequivocally hers and she reveled in the possession.

As a nine-year-old, the circadian rhythm would have the child asleep by around nine p.m., driven in part by the rising tide of melatonin at this time in children. By the time that same individual has reached sixteen years of age, their circadian rhythm has undergone a dramatic shift forward in its cycling phase. The rising tide of melatonin, and the instruction of darkness and sleep, is many hours away. As a consequence, the sixteen-year-old will usually have no interest in sleeping at nine p.m. Instead, peak wakefulness is usually still in play at that hour. By the time the parents are getting tired, as their circadian rhythms take a downturn and melatonin release instructs sleep—perhaps around ten or eleven p.m., their teenager can still be wide awake. A few more hours must pass before the circadian rhythm of a teenage brain begins to shut down alertness and allow for easy, sound sleep to begin. This, of course, leads to much angst and frustration for all parties involved on the back end of sleep. Parents want their teenager to be awake at a “reasonable” hour of the morning. Teenagers, on the other hand, having only been capable of initiating sleep some hours after their parents, can still be in their trough of the circadian downswing. Like an animal prematurely wrenched out of hibernation too early, the adolescent brain still needs more sleep and more time to complete the circadian cycle before it can operate efficiently, without grogginess. If this remains perplexing to parents, a different way to frame and perhaps appreciate the mismatch is this: asking your teenage son or daughter to go to bed and fall asleep at ten p.m. is the circadian equivalent of asking you, their parent, to go to sleep at seven or eight p.m. No matter how loud you enunciate the order, no matter how much that teenager truly wishes to obey your instruction, and no matter what amount of willed effort is applied by either of the two parties, the circadian rhythm of a teenager will not be miraculously coaxed into a change. Furthermore, asking that same teenager to wake up at seven the next morning and function with intellect, grace, and good mood is the equivalent of asking you, their parent, to do the same at four or five a.m. Sadly, neither society nor our parental attitudes are well designed to appreciate or accept that teenagers need more sleep than adults, and that they are biologically wired to obtain that sleep at a different time from their parents. It’s very understandable for parents to feel frustrated in this way, since they believe that their teenager’s sleep patterns reflect a conscious choice and not a biological edict. But non-volitional, non-negotiable, and strongly biological they are. We parents would be wise to accept this fact, and to embrace it, encourage it, and praise it, lest we wish our own children to suffer developmental brain abnormalities or force a raised risk of mental illness upon them.

when it comes to the pace of my life, I have to ask, Who is setting the rhythm? The answer depends on who has access to my ears, my mind, and my heart in that moment.

The first thing we need to acknowledge when we gather with God’s church is that the whole thing—from the entire creation to the very thought of gathering to worship the Creator—was God’s idea.

When I listen to Inside Story, I can hear the energy of what was going on the moment it was made. It is different from Nightclubbing, different from Slave to the Rhythm, but I listen to that record, and I love it. It’s where I was at the time. Nile’s ear was different from mine, and he was responding to his idea of me, and it was an American Nile production, with all that entails, but I think it is beautiful. There were other ways of doing that material, but I like how it ended up.

In the graceful symphony of existence, life pirouettes with the enchanting rhythm of impermanence. Embracing the present moment reveals the spellbinding wonders that unfurl before us. Releasing the shackles of past and future attachments liberates our spirits to marvel at the kaleidoscope of ever-evolving moments. Cheers to embracing the vibrant tapestry of life, living wholeheartedly in the here and now!

Call me James.” A soft breath rushed out of her. “I cannot—” “I grow tired of this incessant ‘Your Grace’ business.” “Very well,” she said a trifle pertly. His gaze sharpened. “What is this?” “What?” “Your cheeks are rather flushed and your eyes suspiciously bright.” He leaned slowly, deliberately, almost leisurely toward her, and her heart kicked a furious rhythm. The duke ran his nose across her cheeks. “It is quite fascinating how your scent changes. Earlier you smelled like the forest itself, now you smell like caramel and lavender.” “You should really learn to keep your nose to yourself,

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.

The Bible is remarkably blunt about how broken we are. Most of the patriarchs of the Bible were pretty rotten fathers. Other than Jesus, all of the biblical characters we meet are generally like us: people who botch most everything. None of them are particularly good, and when we idolize them, we do a disservice to one of the great themes of the Bible—that we are all failed sinners in desperate need of grace.

In the realm of spiritual philosophy, where the sacred and the mundane converge, where the mystical dances with the ordinary, there exists an enchanting archetype that beckons us to explore the depths of our souls—the Divine Rabbit. This ethereal creature, a symbol of fertility, rebirth, and spiritual illumination, invites us to embark on a profound journey of self-discovery and transcendence. The Divine Rabbit, with its gentle countenance and nimble grace, embodies the essence of the divine feminine, representing the nurturing and creative aspects of existence. It is a messenger of the cosmic forces, whispering ancient wisdom and guiding us towards the realization of our true nature. With each hop, it traverses the sacred landscapes of our consciousness, leaving in its wake the seeds of transformation and spiritual awakening. This mystical creature, adorned with the symbols of abundance and growth, teaches us the profound truth that spirituality is not confined to lofty realms or esoteric knowledge, but is deeply rooted in the tapestry of our everyday lives. The Divine Rabbit invites us to cultivate a sense of presence and mindfulness, to embrace the magic of the present moment, and to recognize that every breath we take is an opportunity for divine communion. In the Divine Rabbit, we find a profound reflection of our own spiritual journey. Like the rabbit, we too navigate the maze of existence, encountering both obstacles and opportunities along the way. The Divine Rabbit reminds us to approach these challenges with grace, agility, and an unwavering trust in the divine plan. It teaches us that even in the face of adversity, we possess the innate resilience to overcome, to rise above our limitations, and to embrace the boundless potential that resides within us. The Divine Rabbit also serves as a catalyst for profound transformation and rebirth. Just as the rabbit sheds its old fur to make way for new growth, we too are called to release the layers of conditioning, limiting beliefs, and attachments that no longer serve our highest good. The Divine Rabbit encourages us to step into the fullness of our authentic selves, to embrace our innate gifts and talents, and to allow the light of our divine essence to illuminate the world around us. Moreover, the Divine Rabbit invites us to honor the interconnectedness of all beings and the sacredness of every living creature. It teaches us to tread lightly upon the Earth, recognizing that our actions have far-reaching consequences. The Divine Rabbit reminds us of the importance of compassion, kindness, and love towards all beings, for in their eyes, we catch a glimpse of the divine spark that resides within us all. As we embark on our spiritual journey, let us heed the wisdom of the Divine Rabbit. Let us cultivate a sense of wonder and curiosity, allowing ourselves to be guided by the synchronicities and signs that pepper our path. Let us embrace the cycles of life and honor the sacredness of both beginnings and endings. And above all, let us remember that within the heart of the Divine Rabbit resides the eternal flame of our own divine essence, waiting to be kindled and expressed in all its radiant glory. May we follow the path of the Divine Rabbit, awakening to the depths of our being, embracing our divine nature, and embodying the transformative power of love, compassion, and spiritual illumination. In doing so, we dance in harmony with the rhythm of the universe, honoring the sacredness of life, and fulfilling our highest purpose.

He might not remember his past, but he felt one driving principle within himself, its rhythm as ingrained as that of his heart. Survive, survive, survive.

Eugene Peterson urges ... attention to the wisdom of Genesis .... Perceiving day's beginning at the darkening point teaches something important about who we are as human beings, he says. "The Hebrew evening / morning sequence conditions us to the rhythms of grace. We go to sleep, and God begins his work.

This is dedicated to Black women. The world wants our rhythm, but not our blues. May we continue to wear our crowns with grace, ever mindful that we are royalty.” Her epigraph in Single Black Woman

Embrace Efficiency, Elevate Flavor: Smart Kitchen Tools for Culinary Adventurers The kitchen, once a realm of necessity, has morphed into a playground of possibility. Gone are the days of clunky appliances and tedious prep work. Enter the age of the smart kitchen tool, a revolution that whispers efficiency and shouts culinary liberation. For the modern gastronome, these tech-infused gadgets are not mere conveniences, but allies in crafting delectable adventures, freeing us to savor the journey as much as the destination. Imagine mornings when your smart coffee maker greets you with the perfect brew, prepped by the whispers of your phone while you dream. Your fridge, stocked like a digital oracle, suggests recipes based on its ever-evolving inventory, and even automatically orders groceries you've run low on. The multi-cooker, your multitasking superhero, whips up a gourmet chili while you conquer emails, and by dinnertime, your smart oven roasts a succulent chicken to golden perfection, its progress monitored remotely as you sip a glass of wine. But efficiency is merely the prologue. Smart kitchen tools unlock a pandora's box of culinary precision. Smart scales, meticulous to the milligram, banish recipe guesswork and ensure perfect balance in every dish. Food processors and blenders, armed with pre-programmed settings and self-cleaning prowess, transform tedious chopping into a mere blip on the culinary radar. And for the aspiring chef, a sous vide machine becomes a magic wand, coaxing impossible tenderness from the toughest cuts of meat. Yet, technology alone is not the recipe for culinary bliss. For those who yearn to paint with flavors, smart kitchen tools are the brushes on their canvas. A connected recipe platform becomes your digital sous chef, guiding you through each step with expert instructions and voice-activated ease. Spice racks, infused with artificial intelligence, suggest unexpected pairings, urging you to venture beyond the familiar. And for the ultimate expression of your inner master chef, a custom knife, forged from heirloom steel and lovingly honed, becomes an extension of your hand, slicing through ingredients with laser focus and lyrical grace. But amidst the symphony of gadgets and apps, let us not forget the heart of the kitchen: the human touch. Smart tools are not meant to replace our intuition but to augment it. They free us from the drudgery, allowing us to focus on the artistry, the love, the joy of creation. Imagine kneading dough, the rhythm of your hands mirroring the gentle whirring of a smart bread machine, then shaping a loaf that holds the warmth of both technology and your own spirit. Or picture yourself plating a dish, using smart portion scales for precision but garnishing with edible flowers chosen simply because they spark joy. This, my friends, is the symphony of the smart kitchen: a harmonious blend of tech and humanity, where efficiency becomes the brushstroke that illuminates the vibrant canvas of culinary passion. Of course, every adventure, even one fueled by smart tools, has its caveats. Interoperability between gadgets can be a tangled web, and data privacy concerns linger like unwanted guests. But these challenges are mere bumps on the culinary road, hurdles to be overcome by informed choices and responsible data management. After all, we wouldn't embark on a mountain trek without checking the weather, would we? So, embrace the smart kitchen, dear foodies! Let technology be your sous chef, your precision tool, your culinary muse. But never forget the magic of your own hands, the wisdom of your palate, and the joy of a meal shared with loved ones. For in the end, it's not about the gadgets, but the memories we create around them, the stories whispered over simmering pots, and the laughter echoing through a kitchen filled with the aroma of possibility.

Getting away and asking ourselves who we want to become, who we want our families to become, and then backtracking and choosing one little step that is doable, to implement. One little step at a time. If you want to be a woman who loves Jesus and trusts him, then you need to spend time with him. Open his Word and read, one verse at a time. One prayer at a time. If you want to be a mom who is present with her kids, then you may need to put your phone in the cabinet for an hour from 3 to 4 p.m. each day. If you want to have intentional time together as a family, you might spend snack time each afternoon reading a story with your kids. If you want to be a family who uplifts one another and cheers one another on, you might go around the dinner table one night a week and each of you say one thing you love about a certain family member. If you want to be a runner, you don’t sign up for a marathon tomorrow, but you do need to put some running shoes on and get outside and start running. Doesn’t have to be every day. Doesn’t have to be five miles at a time. It could be ten minutes twice a week, but that makes you a runner. You don’t have to aim for perfection, or 100 percent even. We’re not looking for A+’s. We’re simply learning to be the people we want to be—living in the 80 percent rule. Rhythms over goals. Intentionality over reacting. Being present over distraction. Grace over legalism.

Over the past few years, I'd been so busy with Dark Castle that I'd never truly gotten into cooking or baking shows. I reconsidered them now. Watching Lucian move about the kitchen, all firm confidence and loose-limbed grace, was pure porn for me. Heaven help me, but the way his ropy forearms moved as he briskly whipped up egg whites or heavy cream----because the man never used a blender for these things----would get me so hot and bothered I'd have to press my thighs together under the cover of the battered farm table. And when he kneaded dough? Sweet baby Jesus. He did this little grunt every time he thrust the heels of his hands over the springy mass. A deep rumbling grunt as his whole taut body rocked toward the countertop. And then there were was the pullback, when he'd breathe in, those wide shoulders of his rolling in a steady rhythm. Grunt. Thrust. Breathe. Pull. It was a wonder I didn't orgasm on the spot watching him.

More than 80 percent of public high schools in the United States begin before 8:15 a.m. Almost 50 percent of those start before 7:20 a.m. School buses for a 7:20 a.m. start time usually begin picking up kids at around 5:45 a.m. As a result, some children and teenagers must wake up at 5:30 a.m., 5:15 a.m., or even earlier, and do so five days out of every seven, for years on end. This is lunacy. Could you concentrate and learn much of anything when you had woken up so early? Keep in mind that 5:15 a.m. to a teenager is not the same as 5:15 a.m. to an adult. Previously, we noted that the circadian rhythm of teenagers shifts forward dramatically by one to three hours. So really the question I should ask you, if you are an adult, is this: Could you concentrate and learn anything after having forcefully been woken up at 3:15 a.m., day after day after day? Would you be in a cheerful mood? Would you find it easy to get along with your coworkers and conduct yourself with grace, tolerance, respect, and a pleasant demeanor? Of course not. Why, then, do we ask this of the millions of teenagers and children in industrialized nations?

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Dear Lord, Please, forgive their visions, and let them hear the vulture's apology to its prey, lest they think you made some, killers, and some, killed. Lay in their hearts a blue morning star, to show them the course of laughs in the wind of sea, adorn their dreams with the meaning of life, so they know that you are the creator of beauty, too. Sprinkle their roads with diamonds of your words, so they break the walls in their souls and fly to you washed like air in the rain. Dear Lord, At the beat of sins, in a valley only eminent from rapture by an illusion, I stand, naked of all hate, flooding with love. The honey of your grace drips over my body, and creatures smile. Like your power taught me, I forgive sinners in routs of ignorance and roads of knowledge. I look under my feet lest I block the way of ants. I look up at your sky to thank you for a star that embraced my heart with illumination, I kneel before you, for you taught me how to fill the chalice of love, and pour it in the grieving river, turning its stream into a rhythm, and its water, into a mother's touch on the head of a lonely orphan. Dear Lord, I know your wisdom in creating pain. They don't.

Dear Lord, Please, forgive their visions, and let them hear the vulture's apology to its prey. Lay in their hearts a blue morning star, to show them the course of laughs in the wind of sea. Adorn their dreams with the meaning of life, so they know that You are the Creator of beauty, too. Sprinkle their roads with diamonds of Your words, so they break the walls in their souls, and fly to You washed like air in the rain. Dear Lord, At the beat of sins, in a valley only eminent from rapture by an illusion, I stand, empty of all hate, flooding with love. The honey of Your grace drips over me, and creatures smile. Like Your power taught me, I forgive sinners in routs of ignorance and roads of knowledge. I look under my feet lest I block the way of ants. I look up at Your sky to thank You for a star that embraced my heart with illumination. I kneel before You, for You taught me how to fill the chalice of love, and pour it in the grieving river, turning its stream into a rhythm, and its water, into a mother's touch on the head of a lonely orphan. Dear Lord, I know Your wisdom in creating pain. They don't.

The Reason for God, Timothy Keller argues that grace breaks decisively from the “performance narrative,” understood as the attempt to ground one’s status before God either partly or wholly in one’s performance in any number of moral or ritual areas.17 This performance narrative also rhythms contemporary society, crystallizing in what Michael Sandel calls the “tyranny of merit,” namely the assumption that the only factor limiting success is a lack of effort or ability and we can achieve anything if only we want it desperately enough. So both in terms of religion and in terms of daily life, we rate our success and our worthiness by our performance.

When I saw once again the slim, tall women who were swaying in indescribable rhythm, striding over the fields and carrying pitchers free on their heads with arms outstretched, I thought to myself: Nothing in the whole world - neither the most perfect automobile nor the proudest bridge nor the most thoughtful book - can replace this grace which has been lost in the West and is already threatened in the East - this grace which is nothing but an expression of the magic consonance between a human being's Self and the world that surrounds him ...

As the seasons change, so do the rhythms of our lives; may we learn to flow with grace through every cycle.

She’s looking at me in a way that makes my heart fall out of rhythm. I wish I could save this moment; bottle it and protect it from whatever outside forces are going to try and ruin it.

While having a rigid schedule is dangerous, not paying attention to the rhythms of life is equally so. A rigid schedule is saying that you want all or nothing. A rhythm is accepting the flow of life with grace, while putting into practice those habits which promote mental, physical, and spiritual health.

Sure. Forgiveness doesn’t cancel consequences, but the opposite is also true. Consequences don’t mean we’re not forgiven. When we’re covered in grace, we don’t have to walk around in shame anymore.

QUESTIONS for Reflection How might Sabbath be a way of resisting the instinct to worship work? Can you identify areas of your own life where work or achievement have served either as a numbing agent or as what provided your identity? How might your work be driven by either fear or purpose? Why did God give the law of Sabbath rest? What do you think about rest being a way to worship God? How might admitting your own needs allow you to care for the needs of your community? What needs of yours are currently unmet? What are the rhythms of your life saying to the world around you? Do they indicate that you serve a God of grace or that you serve at the altar of workaholism? Have you experienced a time when God did the seemingly impossible when you entrusted something to him (like God stretching time)?

With a deep breath, I extend my arms, beginning with an adagio, syncing with the melody of the flowers. When I find comfort in the rhythm, I dip into a cambré, sweeping my body into a whirlpool as I rise. I hesitate as plumes of color emerge from the ground, encompassing me in a veil of fuchsia, amber, and gold. The colors gather me, and I move with them like the language of fire--- hot, quick steps, languid and elegant. The forest begins to change, and my eyes widen. When I began my bourrée steps, foxgloves sprout like lace-crafted trumpets, marrying the sound of blooming hibiscuses, rattling like tambourines. With every step I take, more flowers grow, kissing the earth with their velvet lips. I almost swear I hear the ground sing back, harmonizing with the forest's song. I guess the angel was right. With a glimmer of confidence, I burst into a grand jeté, and golden hummingbirds mimic me, tracing my every move as I dive into a piqué manège. Damien's eyes glisten, and it fills my spirit.With every chassé, the forest unravels in color. Fireflies come to life and kiss my cheeks, circling my body in a lattice as I pirouette. New colors rise from the ground--- topaz, lazuli, and chartreuse--- dancing with me like my own ensemble, I transition into my fouettés, leaning into an arabesque, as if to touch the rising moon. I lose all sense of self, leaping into the air. My body transcends into a wind-like creature, moving wildly with mild grace. New life sprouts, as if this world belongs to me and not the angels. Tiny stars emerge in a trail behind my feet, and I climb them like stairs. Damien smiles. I reach for his hand and lift him onto the steps. His hands wrap around my waist, and together we spin higher into the sky. My grip around his shoulders tenses as we rise closer and closer to the Heavens. I can feel Luna radiating over me. I'm in command. Here, I'm free. I wish I could hold on to this moment forever.