Rivers And Tides Quotes

And men go abroad to admire the heights of mountains, the mighty waves of the sea, the broad tides of rivers, the compass of the ocean, and the circuits of the stars, yet pass over the mystery of themselves without a thought.

Love, being in love, isn’t a constant thing. It doesn’t always flow at the same strength. It’s not always like a river in flood. It’s more like the sea. It has tides, it ebbs and flows. The thing is, when love is real, whether it’s ebbing or flowing, it’s always there, it never goes away. And that’s the only proof you can have that it is real, and not just a crush or an infatuation or a passing fancy

I believe in going with the flow. I don't believe in fighting against the flow. You ride on your river and you go with the tides and the flow. But it has to be your river, not someone else's. Everyone has their own river, and you don't need to swim,float,sail on their's, but you need to be in your own river and you need to go with it. And I don't believe in fighting the wind. You go and you fly with your wind. Let everyone else catch their own gusts of wind and let them fly with their own gusts of wind, and you go and you fly with yours.

I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that new born river that has to run through the center of our hearts to find its way home.

Can you see air you breathe? Can you see the force that moves the tides or changes the seasons or sends the birds to a winter haven?" Her eyes welled. "Can Rome with all its knowledge be so foolish? Oh Marcus, you can't carve God in stone. You can't limit him to a temple. You can't imprison him on a mountaintop. Heaven is his throne; earth, his footstool. Everything you see is his. Empires will rise and empires will fall. Only God prevails.

For what is it to die but to stand naked in the wind and to melt into the sun? And what is it to cease breathing but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered? Only when you drink from the river of silence shall you indeed sing. And when you have reached the mountaintop,then you shall begin to climb. And when the earth shal claim your limbs,then shall you truly dance.

But what would that be like feeling the tide rise out of the numbness inside

A single poem, alone can turn tides scatter galaxies and burst forth with rivers from paradise.

WINTER'S GHOST: Autumn moon incautious in the dark river Winter’s ghost walks with a covered face and silver bones wait in all animals to be bone cloth upon her shoulder wait for her happiness in that they are silver

We children sat transfixed before that moon our mother had called forth from the waters. When the moon had reached its deepest silver, my sister, Savannah, though only three, cried aloud to our mother, to Luke and me, to the river and the moon, "Oh, Mama, do it again!" And I had my earliest memory.

I love you more than the tides love the moon. I'm as temperamental as the ocean, and just the same, I'm at your mercy. Give me a ship, and I will wreck it at your command.

May what I do flow from me like a river, no forcing and no holding back, the way it is with children. Then in these swelling and ebbing currents, these deepening tides moving out, returning, I will sing you as no one ever has, streaming through widening channels into the open sea.

For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.

I get out of bed, go over to the window, and look at the night sky. And think about time that can never be regained. I think of rivers, of tides. Forests and water gushing out. Rain and lightning. Rocks and shadows. All of these are in me.

The moon changes each night but she does so in an understandable rhythm. And just as the tides ebb and flow and the moon waxes and wanes, our bodies’ hormones ebb and flow and our energies wax and wane. Our bodies are more like the rivers than like the rocks, more like the oceans than like machines. The more we can respect the cycles and changes and needs of our bodies, the more we can move with the flow of our lives. In other words, swear by the moon. Or, trust your body.

The safe places could only be visited; they could only grant a momentary intuition of sanctuary. The moment always came when we had to return to our real life to face the wounds and grief indigenous to our homr by the river.

How Beautiful is the rain! After the dust and heat, In the broad and fiery street, In the narrow lane, How beautiful is the rain! How it clatters along the roofs, Like the tramp of hoofs! How it gushes and struggles out From the throat of the overflowing spout! Across the window-pane It pours and pours; And swift and wide, With a muddy tide, Like a river down the gutter roars The rain, the welcome rain! -"Rain in Summer

"The wanderer in Manhattan must go forth with a certain innocence, because New York is best seen with innocent eyes. It doesn't matter if you are younger or old. Reading our rich history makes the experience more layered, but it is not a substitute for walking the streets themselves. For old-timer or newcomer, it is essential to absorb the city as it is now in order to shape your own nostalgias. That's why I always urge the newcomer to surrender to the city's magic. Forget the irritations and the occasional rudeness; they bother New Yorkers too. Instead, go down to the North River and the benches that run along the west side of Battery Park City. Watch the tides or the blocks of ice in winter; they have existed since the time when the island was empty of man. Gaze at the boats. Look across the water at the Statue of Liberty or Ellis Island, the place to which so many of the New York tribe came in order to truly live. Learn the tale of our tribe, because it's your tribe too, no matter where you were born. Listen to its music and its legends. Gaze at its ruins and monuments. Walk its sidewalks and run fingers upon the stone and bricks and steel of our right-angled streets. Breathe the air of the river breeze."

I'm sorry to go, but its alright. Rivers dry up; tides ebb; the sea goes on.

He was part of this river of cars, aiding its sluggish tide and in turn aided by it. Without losing his identity, free to turn out of the tide when he chose, he still belonged to something.

Ah, drink again This river that is the taker-away of pain, And the giver-back of beauty! In these cool waves What can be lost?-- Only the sorry cost Of the lovely thing, ah, never the thing itself! The level flood that laves The hot brow And the stiff shoulder Is at our temples now. Gone is the fever, But not into the river; Melted the frozen pride, But the tranquil tide Runs never the warmer for this, Never the colder. Immerse the dream. Drench the kiss. Dip the song in the stream.

The Nellie, a cruising yawl, swung to her anchor without a flutter of the sails, and was at rest. The flood had made, the wind was nearly calm, and being bound down the river, the only thing for it was to come to and wait for the turn of the tide.

Song of myself Smile O voluptuous cool-breath'd earth! Earth of the slumbering and liquid trees! Earth of departed sunset--earth of the mountains misty-topt! Earth of the vitreous pour of the full moon just tinged with blue! Earth of shine and dark mottling the tide of the river! Earth of the limpid gray of clouds brighter and clearer for my sake! Far-swooping elbow'd earth--rich apple-blossom'd earth! Smile, for your lover comes.

Comely was the town by the curving river that they dismantled in a year's time. Beautiful was Colleton in her last spring as she flung azaleas like a girl throwing rice at a desperate wedding. In dazzling profusion, Colleton ripened in a gauze of sweet gardens and the town ached beneath a canopy of promissory fragrance.

It was growing dark on this long southern evening, and suddenly, at the exact point her finger had indicated, the moon lifted a forehead of stunning gold above the horizon, lifted straight out of filigreed, light-intoxicated clouds that lay on the skyline in attendant veils. Behind us, the sun was setting in a simultaneous congruent withdrawal and the river turned to flame in a quiet duel of gold....The new gold of moon astonishing and ascendant, he depleted gold of sunset extinguishing itself in the long westward slide, it was the old dance of days in the Carolina marshes, the breathtaking death of days before the eyes of children, until the sun vanished, its final signature a ribbon of bullion strung across the tops of water oaks.

When Jordan was a baby he sat on top of me much as a fly rests on a hill of dung. And I nourished him as a hill of dung nourishes a fly, and when he had eaten his fill he left me. Jordan... I should have named him after a stagnant pond and then I could have kept him, but I named him after a river and in the flood-tide he slipped away.

Wild steep mountains floating in a haze of cloud...a sea of green trees swallowing the hills and valleys, and curling around the trails and rivers, with the wind in the leaves as its tide.

The water of the fountain ran, the swift river ran, the day ran into evening, so much life in the city ran into death according to rule, time and tide waited for no man, the rats were sleeping close together in their dark holes again, the Fancy Ball was lighted up at supper, all things ran their course.

May you study the pink of yourself. Know yourself riverine and coast. May you taste the fresh and the saltwater of yourself and know what only you can know. May you live in the mouth of the river, meeting place of the tides, may all blessings flow through you.

Only the most ignorant still believe, like Saint Augustine, that time is a river. We others know it is a delta: that it branches out and seeks new routes, that it rejoins itself only to seek a thousand new courses. Some may be waterfalls, some no more than little stagnant pools passed by the tide, forever still... This is one of those times. A pool. I sink down in it. I want to stay forever in this water.

What in water did Bloom, waterlover, drawer of water, watercarrier, returning to the range, admire? Its universality: its democratic equality and constancy to its nature in seeking its own level: its vastness in the ocean of Mercator's projection: its unplumbed profundity in the Sundam trench of the Pacific exceeding 8000 fathoms: the restlessness of its waves and surface particles visiting in turn all points of its seaboard: the independence of its units: the variability of states of sea: its hydrostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides: its subsidence after devastation: its sterility in the circumpolar icecaps, arctic and antarctic: its climatic and commercial significance: its preponderance of 3 to 1 over the dry land of the globe: its indisputable hegemony extending in square leagues over all the region below the subequatorial tropic of Capricorn: the multisecular stability of its primeval basin: its luteofulvous bed: its capacity to dissolve and hold in solution all soluble substances including millions of tons of the most precious metals: its slow erosions of peninsulas and islands, its persistent formation of homothetic islands, peninsulas and downwardtending promontories: its alluvial deposits: its weight and volume and density: its imperturbability in lagoons and highland tarns: its gradation of colours in the torrid and temperate and frigid zones: its vehicular ramifications in continental lakecontained streams and confluent oceanflowing rivers with their tributaries and transoceanic currents, gulfstream, north and south equatorial courses: its violence in seaquakes, waterspouts, Artesian wells, eruptions, torrents, eddies, freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial ahorizontal curve: its secrecy in springs and latent humidity, revealed by rhabdomantic or hygrometric instruments and exemplified by the well by the hole in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity of its composition, two constituent parts of hydrogen with one constituent part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on shipboard: its properties for cleansing, quenching thirst and fire, nourishing vegetation: its infallibility as paradigm and paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of forms in loughs and bays and gulfs and bights and guts and lagoons and atolls and archipelagos and sounds and fjords and minches and tidal estuaries and arms of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks: its potentiality derivable from harnessed tides or watercourses falling from level to level: its submarine fauna and flora (anacoustic, photophobe), numerically, if not literally, the inhabitants of the globe: its ubiquity as constituting 90 percent of the human body: the noxiousness of its effluvia in lacustrine marshes, pestilential fens, faded flowerwater, stagnant pools in the waning moon.

But here, in the tide country, transformation is the rule of life: rivers stray from week to week, and islands are made and unmade in days. In other places forests take centuries, even millennia, to regenerate; but mangroves can recolonize a denuded island in ten to fifteen years. Could it be the very rhythms of the earth were quickened here so that they unfolded at an accelerated pace?

Pleasures are like poppies spread You seize the flower its bloom is shed Or like the snow falls in the river A moment white, then melts forever Or like the Borealis race That flit ere you can point their place Or like the rainbow's lovely form Evanshing amidst the storm Nae man can tether time nor tide The hour approaches, Tam must ride

I loved these salt rivers more than I loved the sea; I loved the movement of tides more than I loved the fury of surf. Something in me was congruent with this land, something affirmed when I witnessed the startled, piping rush of shrimp or the flash of starlight on the scales of mullet. I could feel myself relax and change whenever I returned to the lowcountry and saw the vast green expanses of marsh, feminine as lace, delicate as calligraphy. The lowcountry had its own special ache and sting.

‎I love even to see the domestic animals reassert their native rights — any evidence that they have not wholly lost their original wild habits and vigor; as when my neighbor's cow breaks out of her pasture early in the Spring and boldly swims the river, a cold grey tide, twenty-five or thirty rods wide, swollen by the melted snow. It is the Buffalo crossing the Mississippi.

The NELLIE, a cruising yawl, swung to her anchor without a flutter of the sails, and was at rest. The flood had made, the wind was nearly calm, and being bound down the river, the only thing for it was to come to and wait for the turn of the tide. The sea-reach of the Thames stretched before us like the beginning of an interminable waterway. In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide seemed to stand still in red clusters of canvas sharply peaked, with gleams of varnished sprits. A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth.

Edges I am a child throwing rocks into the stream. Challenging the rushing water. Raising my fist and daring fate to do it worst. I am a dancer in the waves of the ocean. Swaying in time with the tide. Pirouetting, the current my only friend. I am the sun, rising across the canyon Ascending, and shinning down. Giving the illusion of perception and motion. I am thoughts like a rolling river. Water cascading over the rocks of my soul. Shaping, forming, conforming. I am the peace of the rain forest. Basking in solitude Tranquil, serene, transfixing angles. Reflecting from within. Dripping and dropping. Shaking it off. I am the dust of the galaxy. Yearning to know itself. I am the wind. Wandering. Searching. A storm brewing from within.

Alan shuddered, emptying a river of balmy man juice into her moistened love canal.

The great bay with its powerful tides, its estuaries and islands, its freshwater rivers and the nurturing ocean supplied everything...

We got a saying here in Tide Wing: Should is for weaklings.

For in the popular way of thinking, history draws a time “line,” as if time marched in lockstep in only one direction. Some people say that time is a river into which we can step but once, as it flows in a straight path to the sea. But Nanabozho’s people know time as a circle. Time is not a river running inexorably to the sea, but the sea itself—its tides that appear and disappear, the fog that rises to become rain in a different river. All things that were will come again.

The rats had crept out of their holes to look on, and they remained looking on for hours; soldiers and police often passing between them and the spectacle, and making a barrier behind which they slunk, and through which they peeped. The father had long ago taken up his bundle and hidden himself away with it, when the women who had tended the bundle while it lay on the base of the fountain, sat there watching the running of the water and the rolling of the Fancy Ball - when the one woman who had stood conspicuous, knitting, still knitted on with the steadfastness of Fate. The water of the fountain ran, the swift river ran, the day ran into evening, so much life ran in the city ran into death according to rule, time and tide waited for no man, the rats were sleeping close together in their dark holes again, the Fancy Ball was lighted up at supper, all things ran their course

Rest you here, enchanter, while the light fades, Vision narrows, and the far Sky-edge is gone with the sun. Be content with the small spark Of the coal, the smell Of food, and the breath Of frost beyond the shut door. Home is here, and familiar things; A cup, a wooden bowl, a blanket, Prayer, a gift for the god, and sleep. (And music, says the harp, And music.) Rest here, enchanter, while the fire dies. In a breath, in an eyelid's fall, You will see them, the dreams; The sword and the young king, The white horse and the running water, The lit lamp and the boy smiling. Dreams, dreams, enchanter! Gone with the harp's echo when the strings Fall mute; with the flame's shadow when the fire Dies. Be still, and listen. Far on the black air Blows the great wind, rises The running tide, flows the clear river. Listen, enchanter, hear Through the black air and the singing air The music….

The ends of the earth are never the points on a map that colonists push against, enlarging their sphere of influence. On one side servants and slaves and tides of power and correspondence with the Geographical Society. On the other the first step by a white man across a great river, the first sight (by a white eye) of a mountain that has been there forever.

His sister Kat, her husband, Morgan Williams, have been plucked from this life as fast as his daughters were taken, one day walking and talking and next day cold as stones, tumbled into their Thames-side graves and dug in beyond reach of the tide, beyond sight and smell of the river; deaf now to the sound of Putney's cracked church bell, to the smell of wet ink, of hops, of malted barley, and the scent, still animal, of woolen bales; dead to the autumn aroma of pine resin and apple candles, of soul cakes baking.

Early Summer, loveliest season, The world is being colored in. While daylight lasts on the horizon, Sudden, throaty blackbirds sing. The dusty-colored cuckoo cuckoos. "Welcome, summer" is what he says. Winter's unimaginable. The wood's a wickerwork of boughs. Summer means the river's shallow, Thirsty horses nose the pools. Long heather spreads out on bog pillows. White bog cotton droops in bloom. Swallows swerve and flicker up. Music starts behind the mountain. There's moss and a lush growth underfoot. Spongy marshland glugs and stutters. Bog banks shine like ravens' wings. The cuckoo keeps on calling welcome. The speckled fish jumps; and the strong Swift warrior is up and running. A little, jumpy, chirpy fellow Hits the highest note there is; The lark sings out his clear tidings. Summer, shimmer, perfect days.

Eurydice Speaks” How will I know you in the underworld? How will we find each other? We lived for so long on the physical earth— Our skies littered with actual stars Practical tides in our bay— What will we do with the loneliness of the mythical? Walking beside ditches brimming with dactyls, By a ferryman whose feet are scanned for him On the shore of a river written and rewritten As elegy, epic, epode. Remember the thin air of our earthly winters? Frost was an iron, underhand descent. Dusk was always in session And no one needed to write down Or restate, or make record of, or ever would, And never will, The plainspoken music of recognition, Nor the way I often stood at the window— The hills growing dark, saying, As a shadow became a stride And a raincoat was woven out of streetlight I would know you anywhere.

This is what makes me crazy in this family, Dad. I don't care that you hit us. I really don't. That's over and there's nothing any of us can do about it. But I can't stand it when I state a simple fact about this family's history and I'm told by you or Mom that it didn't happen. But you've got to know, Dad, and I'm saying this as a son who loves you, that you were a shit to your kids. Not all the time. Not every day. Not every month. But we never knew what would set you off. We never knew when your temper would explode and we'd have the strongest shrimper on the river knocking us around the house. So we learned to be afraid without making a sound. And Mom was a loyal wife to you, Dad. She would never let us tell a soul that you were hitting us. Most of the time, she was like you and would simply tell us it didn't happen the way we remembered it.

She swallows and swallows the water. And as she swallows she swallows the possibility she will always be alone. Swallows the river that will flow into the sea that is made from other waters that have flowed from mountains and hills, that will leak into oceans. She swallows geography, learns to swim in changing tides and temperatures, learns different strokes of the arms and legs, learns to speak in many tongues. She does this because she has no choice but to do so, and she comes out of the river to find him there, holding her earrings in his hand, and he says, ‘But they don’t fit. Who are you?’" (from "Swallowing Geography" by Deborah Levy)

Somewhere int he flesh of the earth the dreadful earthquake shuddered, the tide walked to and fro on the leash of the moon, rainbows formed, winds swept the sky like giant brooms piling up clouds before them, clouds which writhed into different shapes, melted into rain or darkened, bruised themselves against an unseen antagonist and went on their way, laced with forking rivers of lightning, complete with white electric tributaries. Out of this infinite vision an infinity of details could be drawn, but Sonny had settled on one, and from the endless series a particular beach was chosen and began to form around Laura - a beach of iron-dark sand and shells like frail stars, and a wonderful wide sea that stretched, neither green nor blue, but inked by the approach of night into violet and black, wrinkling with its own salty puzzles, right out to a distant, pure horizon.

Beyond the horizon of the place we lived when we were young In a world of magnets and miracles Our thoughts strayed constantly and without boundary The ringing of the division bell had begun Along the Long Road and on down the Causeway Do they still meet there by the Cut There was a ragged band that followed in our footsteps Running before times took our dreams away Leaving the myriad small creatures trying to tie us to the ground To a life consumed by slow decay The grass was greener The light was brighter When friends surrounded The nights of wonder Looking beyond the embers of bridges glowing behind us To a glimpse of how green it was on the other side Steps taken forwards but sleepwalking back again Dragged by the force of some sleeping tide At a higher altitude with flag unfurled We reached the dizzy heights of that dreamed of world Encumbered forever by desire and ambition There's a hunger still unsatisfied Our weary eyes still stray to the horizon Though down this road we've been so many times The grass was greener The light was brighter The taste was sweeter The nights of wonder With friends surrounded The dawn mist glowing The water flowing The endless river Forever and ever

River Lily Meaning: Love concealed Crinum pedunculatum | Eastern Australia Very large perennial usually found on the edge of forests, but also at the high-tide level close to mangroves. Fragrant, white slender star-shaped flowers. Seeds sometimes germinate while still attached to the parent plant. The sap has been used as a treatment for box jellyfish stings.

Why, sir,' said the lawyer, 'if the persecution were tortious, and if it happened at sea, or even on fresh water or reasonably damp land, the Admiralty court would no doubt have cognizance.' 'Pray, sir,' said Stephen, 'just how damp would the land have to be?' 'Oh, pretty damp, pretty damp, I believe. The judge's patent gives him power to deal with matters in, upon, or by the sea, or public streams, or freshwater ports, rivers, nooks and places between the ebb and flow of the tide, and upon the shores and banks adjacent - all tolerably humid.

I had come to know the singular power of a river advancing toward the open sea and the power of tides regulating that advance. . . . Because I had seen this for the first time over the year, I could not be intimidated by guys who wore expensive shoes and flashy ties. Piedmont could fire me, bawl me out, abuse me, put it on my record that I was an incorrigible son of a bitch, make sure I never taught in South Carolina again, or cut off my teacher's pension. That was all he could do. His power was economic and emotional, not spiritual or supernatural.

Their other hands flipped up, palm to palm, and Merik’s only consolation as he and the domna slid into the next movement of the dance was that her chest heaved as much as his did. Merik’s right hand gripped the girl’s, and with no small amount of ferocity, he twisted her around to face the same direction as he before wrenching her to his chest. His hand slipped over her stomach, fingers splayed. Her left hand snapped up—and he caught it. Then the real difficulty of the dance began. The skipping of feet in a tide of alternating hops and directions. The writhing of hips countered the movement of their feet like a ship upon stormy seas. The trickling tap of Merik’s fingers down the girl’s arms, her ribs, her waist—like the rain against a ship’s sail. On and on, they moved to the music until they were both sweating. Until they hit the third movement. Merik flipped the girl around to face him once more. Her chest slammed against his—and by the Wells, she was tall. He hadn’t realized just how tall until this precise moment when her eyes stared evenly into his and her panting breaths fought against his own. Then the music swelled once more, her legs twined into his, and he forgot all about who she was or what she was or why he had begun the dance in the first place. Because those eyes of hers were the color of the sky after a storm. Without realizing what he did, his Windwitchery flickered to life. Something in this moment awoke the wilder parts of his power. Each heave of his lungs sent a breeze swirling in. It lifted the girl’s hair. Kicked at her wild skirts. She showed no reaction at all. In fact, she didn’t break her gaze from Merik, and there was a fierceness there—a challenge that sent Merik further beneath the waves of the dance. Of the music. Of those eyes. Each leap backward of her body—a movement like the tidal tug of the sea against the river—led to a violent slam as Merik snatched her back against him. For each leap and slam, the girl added in an extra flourishing beat with her heels. Another challenge that Merik had never seen, yet rose to, rose above. Wind crashed around them like a growing hurricane, and he and this girl were at its eye. And the girl never looked away. Never backed down. Not even when the final measures of the song began—that abrupt shift from the sliding cyclone of strings to the simple plucking bass that follows every storm—did Merik soften how hard he pushed himself against this girl. Figuratively. Literally. Their bodies were flush, their hearts hammering against each other’s rib cages. He walked his fingers down her back, over her shoulders, and out to her hands. The last drops of a harsh rain. The music slowed. She pulled away first, slinking back the required four steps. Merik didn’t look away from her face, and he only distantly noticed that, as she pulled away, his Windwitchery seemed to settle. Her skirts stopped swishing, her hair fluttered back to her shoulders. Then he slid backward four steps and folded his arms over his chest. The music came to a close. And Merik returned to his brain with a sickening certainty that Noden and His Hagfishes laughed at him from the bottom of the sea.

She had been lying there, facedown in the water long before the tide had turned at 3.04 that morning. Her eyes were staring into the river, her blonde hair first fanning out, then drawing back under her head with the wash of the water, like a pulsating jellyfish. The belt of her raincoat was caught on the branches of an overhanging tree and she’d been hooked, destined to forever flap against the corner of the broken pier with outstretched arms. She wasn’t going anywhere now; she was simply bobbing up and down with the rhythm of the water - and she hadn’t blinked in a long while.

Love, being in love, isn’t a constant thing. It doesn’t always flow at the same strength. It’s not always like a river in flood. It’s more like the sea. It has tides, it ebbs and flows. The thing is, when love is real, whether it’s ebbing or flowing, it’s always there, it never goes away. And that’s the only proof you can have that it is real, and not just a crush or an infatuation or a passing fancy.

ON THE BANKS of every great river you’ll find a monument to excess.” Kanai recalled the list of examples Nirmal had provided to prove this: the opera house of Manaus, the temple of Karnak, the ten thousand pagodas of Pagan. In the years since, he had visited many of those places, and it made him laugh to think his uncle had insisted that Canning too had a place on that list: “The mighty Matla’s monument is Port Canning.

For what is it to die but to stand naked in the wind and to melt into the sun? And what is it to cease breathing but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered? Only when you drink from the river of silence shall you indeed sing. And when you have reached the mountain top, then you shall begin to climb. And when the earth shall claim your limbs, then shall you truly dance.

The question of race was like the power of the moon in my house. It’s what made the river flow, the ocean swell, and the tide rise, but it was a silent power, intractable, indomitable, indisputable, and thus completely ignorable.

I get out of bed, go to the window and look at the night sky. And think about time that can never be regained. I think of rivers, of tides. Forests and water gushing out. Rain and lightning. Rocks and shadows. All of these are in me.

Call to Action Do you hear the angry winds bellowing? The light from a single torch is burning; the sea that roars onto the shoreline, tells us that the tide is turning. Do you feel the blood within you flowing? From rivers to oceans—here we stand; this is the time of our deliverance, the power we now hold in hand. Do you see the flicker of light now growing? A wildfire roars in Liberty’s name; the seraphic flame of our Awakening, it is now our time to rise again.

The Waterfall and the Sea Her love and passion are a waterfall, fed from the wellspring of her heart, gently tumbling into a pool, preparing herself to share her gifts. His passion and love are like the sea, deep and wide, waiting mysteriously, Patiently he awaits her calling out through time and space She hears his call, her pool overflowing. Her love and passion gushing over her banks she rushes toward him Winding and twisting she finds her way, destined to reach his shores He awaits her arrival and she opens her delta as his tide comes in Their waters mingle every molecule of her river with his sea Forever mixing and sharing their passion and love in that place between The Waterfall and the Sea

Forward now. Forward to battle slaughter. Beware the man who loves battle. Ravn had told me that only one man in three or perhaps one man in four is a real warrior and the rest are reluctant fighters, but I was to learn that only one man in twenty is a lover of battle. Such men were the most dangerous, the most skillful, the ones who reaped the souls, and the ones to fear. I was such a one, and that day, beside the river where the blood flowed into the rising tide, and beside the burning boats, I let Serpent-Breath sing her song of death. I remember little except a rage, an exultation, a massacre. This was the moment the skalds celebrate, the heart of the battle that leads to victory, and the courage had gone from those Danes in a heartbeat.

Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.

Poem in October" It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and the heron Priested shore The morning beckon With water praying and call of seagull and rook And the knock of sailing boats on the net webbed wall Myself to set foot That second In the still sleeping town and set forth. My birthday began with the water- Birds and the birds of the winged trees flying my name Above the farms and the white horses And I rose In rainy autumn And walked abroad in a shower of all my days. High tide and the heron dived when I took the road Over the border And the gates Of the town closed as the town awoke. A springful of larks in a rolling Cloud and the roadside bushes brimming with whistling Blackbirds and the sun of October Summery On the hill's shoulder, Here were fond climates and sweet singers suddenly Come in the morning where I wandered and listened To the rain wringing Wind blow cold In the wood faraway under me. Pale rain over the dwindling harbour And over the sea wet church the size of a snail With its horns through mist and the castle Brown as owls But all the gardens Of spring and summer were blooming in the tall tales Beyond the border and under the lark full cloud. There could I marvel My birthday Away but the weather turned around. It turned away from the blithe country And down the other air and the blue altered sky Streamed again a wonder of summer With apples Pears and red currants And I saw in the turning so clearly a child's Forgotten mornings when he walked with his mother Through the parables Of sun light And the legends of the green chapels And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singingbirds. And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. It was my thirtieth Year to heaven stood there then in the summer noon Though the town below lay leaved with October blood. O may my heart's truth Still be sung On this high hill in a year's turning.

I believe in going with the flow. I don’t believe in fighting against the flow. You ride on your river and you go with the tides and the flow. But it has to be your river, not someone else’s. Everyone has their own river, and you don’t need to swim,float,sail on their’s, but you need to be in your own river and you need to go with it. And I don’t believe in fighting the wind. You go and you fly with your wind. Let everyone else catch their own gusts of wind and let them fly with their own gusts of wind, and you go and you fly with yours.

Adam, my bro, an’ Pa’n’me was trekkin’ back from Honokaa Market on miry roads with a busted cart axle in draggly clothesies. Evenin’ catched us up early, so we tented on the southly bank o’ Sloosha’s Crossin’, ’cos Waipio River was furyin’ with days o’ hard rain an’ swollen by a spring tide.

When a woman withdraws to give birth the sun may be shining but the shutters of her room are closed so she can make her own weather. She is kept in the dark so she can dream. Her dreams drift her far away, from terra firma to a marshy tract of land, to a landing stage, to a river where a mist closes over the further bank, and earth and sky are inseparate; there she must embark towards life and death, a muffled figure in the stern directing the oars. In this vessel prayers are said that men never hear. Bargains are struck between a woman and her God. The river is tidal, and between one feather-stroke and the next, her tide may turn.

The father had long ago taken up his bundle and hidden himself away with it, when the women who had tended the bundle while it lay on the base of the fountain, sat there watching the running of the water and the rolling of the Fancy Ball—when the one woman who had stood conspicuous, knitting, still knitted on with the steadfastness of Fate. The water of the fountain ran, the swift river ran, the day ran into evening, so much life in the city ran into death according to rule, time and tide waited for no man, the rats were sleeping close together in their dark holes again, the Fancy Ball was lighted up at supper, all things ran their course.

Soon the river would narrow and carve through water rushes and overhanging trees still dripping with weed and flotsam from the previous high tide; it was the stretch I never trusted, the stretch of river that pulled my imagination as taut as rope around a cleat, and where I saw thick gnarled roots crawling across the mudflats

We think time flows from the past through the present to the future. But time doesn’t flow. All time—past, present, future—existed in the first instant of the universe’s creation. Textbooks will tell you so. Time is not a river. It’s an invisible ocean encompassing the universe, with tides that run in all directions simultaneously.

And his soul cried out to them, and he said: Sons of my ancient mother, you riders of the tides, How often have you sailed in my dreams. And now you come in my awakening, which is my deeper dream. Ready am I to go, and my eagerness with sails full set awaits the wind. Only another breath will I breathe in this still air, only another loving look cast backward, And then I shall stand among you, a seafarer among seafarers. And you, vast sea, sleeping mother, Who alone are peace and freedom to the river and the stream, Only another winding will this stream make, only another murmur in this glade, And then I shall come to you, a boundless drop to a boundless ocean.

Men go abroad to admire the heights of mountains, the mighty waves of the sea, the broad tide of rivers, the vast compass of the ocean, the circular motion of the stars, and yet they pass over the mystery of themselves without a thought.” We are spiritual beings. But for many of us, malnutrition of the soul is a plague of modern life.

THE STAGE: The stage is empty, and you watch as the figure of Medusa steps into the gas-light. Her body is dressed in a crimson traversed by the golden branches of willow trees, colour and light held into shape by sharp black borders. Lifting languidly her hands, she reaches towards you. Her emerald vipers, in the cohesive movements of unseen mechanisms, weave loops about her head. Music is beginning, and from the shadows off-stage the narrator speaks. “Medusa had a beautiful name and a lovely voice, though no one cared to listen; seeking only the gaze of those famous eyes.” Perseus walks onto the stage, cloaked as though he were the blazing sun. Now what you have to understand is his voice – it is like nothing you could tie down. It feels peaceful to hear it, to see him flow into the song with his fine, clear looks and his finer, clearer voice. Is the head quite forgotten? Not quite but the horror exists alongside the beauty and they flow like twin rivers, and neither is able to wash the other from you.

XII. If there pushed any ragged thistle-stalk Above its mates, the head was chopped, the bents Were jealous else. What made those holes and rents In the dock's harsh swarth leaves, bruised as to baulk All hope of greenness? Tis a brute must walk Pashing their life out, with a brute's intents. XIII. As for the grass, it grew as scant as hair In leprosy; thin dry blades pricked the mud Which underneath looked kneaded up with blood. One stiff blind horse, his every bone a-stare, Stood stupified, however he came there: Thrust out past service from the devil's stud! XIV. Alive? he might be dead for aught I knew, With that red gaunt and colloped neck a-strain. And shut eyes underneath the rusty mane; Seldom went such grotesqueness with such woe; I never saw a brute I hated so; He must be wicked to deserve such pain. XV. I shut my eyes and turned them on my heart, As a man calls for wine before he fights, I asked one draught of earlier, happier sights, Ere fitly I could hope to play my part. Think first, fight afterwards, the soldier's art: One taste of the old time sets all to rights. XVI. Not it! I fancied Cuthbert's reddening face Beneath its garniture of curly gold, Dear fellow, till I almost felt him fold An arm to mine to fix me to the place, The way he used. Alas, one night's disgrace! Out went my heart's new fire and left it cold. XVII. Giles then, the soul of honour - there he stands Frank as ten years ago when knighted first, What honest man should dare (he said) he durst. Good - but the scene shifts - faugh! what hangman hands Pin to his breast a parchment? His own bands Read it. Poor traitor, spit upon and curst! XVIII. Better this present than a past like that: Back therefore to my darkening path again! No sound, no sight as far as eye could strain. Will the night send a howlet or a bat? I asked: when something on the dismal flat Came to arrest my thoughts and change their train. XIX. A sudden little river crossed my path As unexpected as a serpent comes. No sluggish tide congenial to the glooms; This, as it frothed by, might have been a bath For the fiend's glowing hoof - to see the wrath Of its black eddy bespate with flakes and spumes. XX. So petty yet so spiteful! All along, Low scrubby alders kneeled down over it; Drenched willows flung them headlong in a fit Of mute despair, a suicidal throng: The river which had done them all the wrong, Whate'er that was, rolled by, deterred no whit. XXI. Which, while I forded - good saints, how I feared To set my foot upon a dead man's cheek, Each step, of feel the spear I thrust to seek For hollows, tangled in his hair or beard! - It may have been a water-rat I speared, But, ugh! it sounded like a baby's shriek. XXII. Glad was I when I reached the other bank. Now for a better country. Vain presage! Who were the strugglers, what war did they wage, Whose savage trample thus could pad the dank soil to a plash? Toads in a poisoned tank Or wild cats in a red-hot iron cage - XXIII. The fight must so have seemed in that fell cirque, What penned them there, with all the plain to choose? No footprint leading to that horrid mews, None out of it. Mad brewage set to work Their brains, no doubt, like galley-slaves the Turk Pits for his pastime, Christians against Jews.

The tides wash up the Pearl of Great Price; I see it clearly. There it is: the secret so secret that even Indiana Jones has yet to discover it. But it’s mine. It’s a style pointer, a favorite agent, a best avenue for publication. It’s a sure-fire fire-starter, a league of extraordinary information. Shall we gather at the river and share? No. I found it. It’s mine!

Thou hast taught me, Silent River! Many a lesson, deep and long; Thou hast been a generous giver; I can give thee but a song. Oft in sadness and in illness, I have watched thy current glide, Till the beauty of its stillness Overflowed me, like a tide. And in better hours and brighter, When I saw thy waters gleam, I have felt my heart beat lighter, And leap onward with thy stream.

The ship slipped her lines and a tug nudged her into mid-river, where she stalled briefly, waiting to see that everything that lay before her on the course below was clear. Then Hamburg, and Europe, and all her empires, all I had ever known--the only ground that up until then had fed me, the only well from which I had drunk--receded in slow swaths of wash and sky as we surrendered to the outgoing tide on the Elbe.

The sun beats down, and I feel my shoulders burning. I could stay in this boat all day. Time is suspended in a boat. I take a deep breath and try to remember this moment, the heat on my face, the grit under my feet, the strength of the waves. I run my hands through the pebbles and sand, searching for sea glass. One thing leads to another. There are tide pools between the larger rocks, tiny rivers connecting them to the sea

And his soul cried out to them, and he said: Sons of my ancient mother, you riders of the tides, How often have you sailed in my dreams. And now you come in my awakening, which is my deeper dream. Ready am I to go, and my eagerness with sails full set awaits the wind. Only another breath will I breathe in this still air, only another loving look cast backward, And then I shall stand among you, a seafarer among seafarers. And you, vast sea, sleeping mother, Who alone are peace and freedom to the river and the stream, Only another winding will this stream make, only another murmur in this glade, And then I shall come to you, a boundless drop to a boundless ocean. And as he walked he saw from afar men and women leaving their fields and their vineyards and hastening towards the city gates. And he heard their voices calling his name, and shouting from field to field telling one another of the coming of his ship.

Lying in the hotel bed, Hector conceded that, all through ’93, ’94, and ’95, an ever-widening river of good data, mixed with a steady ambient wash of self-importance, had anesthetized his grief. He’d needed that. But now a maw of emptiness and rage was opening beneath him. Idly, he rubbed his bare, trimmed chest beneath the sheets. He’d faithfully hit the gym through these past years of high-level consultancy, grunting out his misery over barbells and machines. His chest was broad and he wished beyond anything that the arm caressing it at this moment was Ricky’s, not his own. But that sunny, silly cutie, like a blond sliver of sunshine on the timeline that Hector envisioned as his life, had missed the drawbridge, along with Issy and Korie and a baleful lot of others. It had all happened in the very, very worst years of sickness and death, Clinton’s first term, overwhelming loss mingled confusingly with tidings of the coming respite.

Peggotty had a basket of refreshments on her knee, which would have lasted us out handsomely, if we had been going to London by the same conveyance. We ate a good deal, and slept a good deal. Peggotty always went to sleep with her chin upon the handle of the basket, her hold of which never relaxed; and I could not have believed unless I had heard her do it, that one defenceless woman could have snored so much. We made so many deviations up and down lanes, and were such a long time delivering a bedstead at a public-house, and calling at other places, that I was quite tired, and very glad, when we saw Yarmouth. It looked rather spongy and soppy, I thought, as I carried my eye over the great dull waste that lay across the river; and I could not help wondering, if the world were really as round as my geography book said, how any part of it came to be so flat. But I reflected that Yarmouth might be situated at one of the poles; which would account for it. As we drew a little nearer, and saw the whole adjacent prospect lying a straight low line under the sky, I hinted to Peggotty that a mound or so might have improved it; and also that if the land had been a little more separated from the sea, and the town and the tide had not been quite so much mixed up, like toast and water, it would have been nicer. But Peggotty said, with greater emphasis than usual, that we must take things as we found them, and that, for her part, she was proud to call herself a Yarmouth Bloater. When we got into the street (which was strange enough to me) and smelt the fish, and pitch, and oakum, and tar, and saw the sailors walking about, and the carts jingling

We feel the life and motion about us, and the universal beauty: the tides marching back and forth with weariless industry, laving the beautiful shores, and swaying the purple dulse of the broad meadows of the sea where the fishes are fed, the wild streams in rows white with waterfalls, ever in bloom and ever in song, spreading their branches over a thousand mountains; the vast forests feeding on the drenching sunbeams, every cell in a whirl of enjoyment; misty flocks of insects stirring all the air, the wild sheep and goats on the grassy ridges above the woods, bears in the berry-tangles, mink and beaver and otter far back on many a river and lake; Indians and adventurers pursuing their lonely ways; birds tending to their young—everywhere, everywhere, beauty and life, and glad, rejoicing action. In this moment, he was experiencing what the Stoics would call sympatheia—a connectedness with the cosmos. The French philosopher Pierre Hadot has referred to it as the “oceanic feeling.” A sense of belonging to something larger, of realizing that “human things are an infinitesimal point in the immensity.

On the slope of the desolate river among tall grasses I asked her, `Maiden, where do you go shading your lamp with your mantle? My house is all dark and lonesome---lend me your light!' she raised her dark eyes for a moment and looked at my face through the dusk. `I have come to the river,' she said, `to float my lamp on the stream when the daylight wanes in the west.' I stood alone among tall grasses and watched the timid flame of her lamp uselessly drifting in the tide. In the silence of gathering night I asked her, `Maiden, your lights are all lit---then where do you go with your lamp? My house is all dark and lonesome---lend me your light.' She raised her dark eyes on my face and stood for a moment doubtful. `I have come,' she said at last, `to dedicate my lamp to the sky.' I stood and watched her light uselessly burning in the void. In the moonless gloom of midnight I ask her, `Maiden, what is your quest, holding the lamp near your heart? My house is all dark and lonesome---lend me your light.' She stopped for a minute and thought and gazed at my face in the dark. `I have brought my light,' she said, `to join the carnival of lamps.' I stood and watched her little lamp uselessly lost among lights.

When I finally leave the market, the streets are dark, and I pass a few blocks where not a single electric light appears – only dark open storefronts and coms (fast-food eateries), broom closet-sized restaurants serving fish, meat, and rice for under a dollar, flickering candles barely revealing the silhouettes of seated figures. The tide of cyclists, motorbikes, and scooters has increased to an uninterrupted flow, a river that, given the slightest opportunity, diverts through automobile traffic, stopping it cold, spreads into tributaries that spill out over sidewalks, across lots, through filling stations. They pour through narrow openings in front of cars: young men, their girlfriends hanging on the back; families of four: mom, dad, baby, and grandma, all on a fragile, wobbly, underpowered motorbike; three people, the day’s shopping piled on a rear fender; women carrying bouquets of flapping chickens, gathered by their feet while youngest son drives and baby rests on the handlebars; motorbikes carrying furniture, spare tires, wooden crates, lumber, cinder blocks, boxes of shoes. Nothing is too large to pile onto or strap to a bike. Lone men in ragged clothes stand or sit by the roadsides, selling petrol from small soda bottles, servicing punctures with little patch kits and old bicycle pumps.

Then Almitra spoke, saying, "We would ask now of Death." And he said: You would know the secret of death. But how shall you find it unless you seek it in the heart of life? The owl whose night-bound eyes are blind unto the day cannot unveil the mystery of light. If you would indeed behold the spirit of death, open your heart wide unto the body of life. For life and death are one, even as the river and the sea are one. In the depth of your hopes and desires lies your silent knowledge of the beyond; And like seeds dreaming beneath the snow your heart dreams of spring. Trust the dreams, for in them is hidden the gate to eternity. Your fear of death is but the trembling of the shepherd when he stands before the king whose hand is to be laid upon him in honour. Is the sheered not joyful beneath his trembling, that he shall wear the mark of the king? Yet is he not more mindful of his trembling? For what is it to die but to stand naked in the wind and to melt into the sun? And what is to cease breathing, but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered? Only when you drink from the river of silence shall you indeed sing. And when you have reached the mountain top, then you shall begin to climb. And when the earth shall claim your limbs, then shall you truly dance.

To Begin With, the Sweet Grass 1. Will the hungry ox stand in the field and not eat of the sweet grass? Will the owl bite off its own wings? Will the lark forget to lift its body in the air or forget to sing? Will the rivers run upstream? Behold, I say—behold the reliability and the finery and the teachings of this gritty earth gift. 2. Eat bread and understand comfort. Drink water, and understand delight. Visit the garden where the scarlet trumpets are opening their bodies for the hummingbirds who are drinking the sweetness, who are thrillingly gluttonous. For one thing leads to another. Soon you will notice how stones shine underfoot. Eventually tides will be the only calendar you believe in. And someone's face, whom you love, will be as a star both intimate and ultimate, and you will be both heart-shaken and respectful. And you will hear the air itself, like a beloved, whisper: oh, let me, for a while longer, enter the two beautiful bodies of your lungs. 3. The witchery of living is my whole conversation with you, my darlings. All I can tell you is what I know. Look, and look again. This world is not just a little thrill for the eyes. It's more than bones. It's more than the delicate wrist with its personal pulse. It's more than the beating of the single heart. It's praising. It's giving until the giving feels like receiving. You have a life—just imagine that! You have this day, and maybe another, and maybe still another. 4. Someday I am going to ask my friend Paulus, the dancer, the potter, to make me a begging bowl which I believe my soul needs. And if I come to you, to the door of your comfortable house with unwashed clothes and unclean fingernails, will you put something into it? I would like to take this chance. I would like to give you this chance. 5. We do one thing or another; we stay the same, or we change. Congratulations, if you have changed. 6. Let me ask you this. Do you also think that beauty exists for some fabulous reason? And, if you have not been enchanted by this adventure— your life— what would do for you? 7. What I loved in the beginning, I think, was mostly myself. Never mind that I had to, since somebody had to. That was many years ago. Since then I have gone out from my confinements, though with difficulty. I mean the ones that thought to rule my heart. I cast them out, I put them on the mush pile. They will be nourishment somehow (everything is nourishment somehow or another). And I have become the child of the clouds, and of hope. I have become the friend of the enemy, whoever that is. I have become older and, cherishing what I have learned, I have become younger. And what do I risk to tell you this, which is all I know? Love yourself. Then forget it. Then, love the world.

And under the cicadas, deeper down that the longest taproot, between and beneath the rounded black rocks and slanting slabs of sandstone in the earth, ground water is creeping. Ground water seeps and slides, across and down, across and down, leaking from here to there, minutely at a rate of a mile a year. What a tug of waters goes on! There are flings and pulls in every direction at every moment. The world is a wild wrestle under the grass; earth shall be moved. What else is going on right this minute while ground water creeps under my feet? The galaxy is careening in a slow, muffled widening. If a million solar systems are born every hour, then surely hundreds burst into being as I shift my weight to the other elbow. The sun’s surface is now exploding; other stars implode and vanish, heavy and black, out of sight. Meteorites are arcing to earth invisibly all day long. On the planet, the winds are blowing: the polar easterlies, the westerlies, the northeast and southeast trades. Somewhere, someone under full sail is becalmed, in the horse latitudes, in the doldrums; in the northland, a trapper is maddened, crazed, by the eerie scent of the chinook, the sweater, a wind that can melt two feet of snow in a day. The pampero blows, and the tramontane, and the Boro, sirocco, levanter, mistral. Lick a finger; feel the now. Spring is seeping north, towards me and away from me, at sixteen miles a day. Along estuary banks of tidal rivers all over the world, snails in black clusters like currants are gliding up and down the stems of reed and sedge, migrating every moment with the dip and swing of tides. Behind me, Tinker Mountain is eroding one thousandth of an inch a year. The sharks I saw are roving up and down the coast. If the sharks cease roving, if they still their twist and rest for a moment, they die. They need new water pushed into their gills; they need dance. Somewhere east of me, on another continent, it is sunset, and starlings in breathtaking bands are winding high in the sky to their evening roost. The mantis egg cases are tied to the mock-orange hedge; within each case, within each egg, cells elongate, narrow, and split; cells bubble and curve inward, align, harden or hollow or stretch. And where are you now?

This scroll, five hundred years old and more, had been inspired by her favorite, the great Wang Wei, master of landscape art, who had painted the scenes from his own home, where he lived for thirty years before he died. Now behind the palace walls on this winter’s day, where she could see only sky and falling snow, Tzu His gazed upon the green landscapes of continuing spring. One landscape melted into another as slowly she unrolled the scroll, so that she might dwell upon every detail of tree and brook and distant hillside. So did she, in imagination, pass beyond the high walls which enclosed her, and she traveled through a delectable country, beside flowing brooks and spreading lakes, and following the ever-flowing river she crossed over wooden bridges and climbed the stony pathways upon a high mountainside and thence looked down a gorge to see a torrent fed by still higher springs, and breaking into waterfalls as it traveled toward the plains. Down from the mountain again she came, past small villages nestling in pine forests and into the warmer valleys among bamboo groves, and she paused in a poet’s pavilion, and so reached at last the shore where the river lost itself in a bay. There among the reeds a fisherman’s boat rose and fell upon the rising tide. Here the river ended, its horizon the open sea and the misted mountains of infinity. This scroll, Lady Miao had once told her, was the artist’s picture of the human soul, passing through the pleasantest scenes of earth to the last view of the unknown future, far beyond.

wet. I’d much rather have God part the river, and then I’ll step into the miracle. That way I don’t get my feet wet, but if we aren’t willing to get our feet wet, we’ll never walk through parted rivers on dry ground. At flood tide, the Jordan River was approximately two hundred feet wide. That was all that separated the Israelites from their four-hundred-year-old promise. Their dream was practically a stone’s throw away. But if the priests hadn’t stepped into the river, they may well have spent the rest of their lives on the eastern banks of the Jordan River. And that’s where many of us spend our lives. We’re so close to the dream, so close to the promise, so close to the miracle. But we’re waiting for God to part the river, while God is waiting for us to get our feet wet.

It happens surprisingly fast, the way your shadow leaves you. All day you’ve been linked by the light, but now that darkness gathers the world in a great black tide, your shadow joins the sea of all other shadows. If you stand here long enough, you, too, will forget your lines and merge with the tall grass and old trees, with the crows and the flooding river—all these pieces of the world that daylight has broken into objects of singular loneliness. It happens surprisingly fast, the drawing in of your shadow, and standing in the field, you become the field, and standing in the night, you are gathered by night, Invisible birds sing to the memory of light but then even those separate songs fade, tiny drops of ink in an infinite spilling. — Rosemerry Wahtola Trommer, “Still Life at Dusk,” Poetry of Presence: An Anthology of Mindfulness Poems, eds. Phyllis Cole-Dai & Ruby R. Wilson (Grayson Books, 2017)

At low tide, much of the sea changes to land, and then more than seven hundred islands can be counted. People come here to hide, to find something they can’t find on the mainland, to get religion through solitude. From June till September, nearly every day is perfect, with the 10,778-foot volcano of Mount Baker rising from the tumble of the Cascades to the west, blue herons and bald eagles crowding the skies, killer whales breaching offshore. The water is exceptionally clear, the result of a twice-daily shift-change in tide, when it sweeps north toward the Strait of Georgia, then back south toward the Strait of Juan de Fuca. In some places, the rip tides create white water like rapids on a foaming river. Being is bliss. But then the winters come and the tourists all go home and clouds hang on the horizon and unemployment doubles and the island dweller is left with whatever it is that led him to escape the rest of the world.

There was always an outrageousness to our response to minor events. Flamboyance and exaggeration were the tail feathers, the jaunty plumage that stretched and flared whenever a Wingo found himself eclipsed in the lampshine of a hostile world. As a family, we were instinctive, not thoughtful. We could never outsmart our adversaries but we could always surprise them with the imaginativeness of our reactions. We functioned best as connoisseurs of hazard and endangerment. We were not truly happy unless we were engaged in our own private war with the rest of the world. Even in my sister’s poems, one could always feel the tension of approaching risk. Her poems all sounded as though she had composed them of thin ice and falling rock. They possessed movement, weight, dazzle and craft. Her poetry moved through streams of time, wild and rambunctious, like an old man entering the boundary waters of the Savannah River, planning to water-ski forty miles to prove he was still a man.

And I asked the 'Nietzscheans' do they know what makes the superman, and they told me you can't know it unless you are the superman. How senseless! I asked for one word, one term, and nothing came to me. But Zarathustra is telling us about the tide of evolution where numerous species came up. Do they want to be the ebb? Is it so hard to read a book in simple language? Who was Ahura Mazda? Wasn't he the god of wisdom? What is Zarathustra doing 10 years in his cave? Isn't it collecting wisdom like the bee honey? And is not the superman a sea of wisdom who must be such a sea in order to take in the dirty river man without getting dirty by it? So, is that word not wisdom? You may ask now how can a pig arise from wisdom? Well, it can't from wisdom, but it can from trying to adapt to the rise of the superman. One species rises and others are getting dumber. Nietzsche also said that species are being made from higher species, and that is the destiny of all those who are losing WISDOM.

Darkness: I had a dream, which was not all a dream. The bright sun was extinguish'd, and the stars Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air; Morn came and went—and came, and brought no day, And men forgot their passions in the dread Of this their desolation; and all hearts Were chill'd into a selfish prayer for light: And they did live by watchfires—and the thrones, The palaces of crowned kings—the huts, The habitations of all things which dwell, Were burnt for beacons; cities were consum'd, And men were gather'd round their blazing homes To look once more into each other's face; Happy were those who dwelt within the eye Of the volcanos, and their mountain-torch: A fearful hope was all the world contain'd; Forests were set on fire—but hour by hour They fell and faded—and the crackling trunks Extinguish'd with a crash—and all was black. The brows of men by the despairing light Wore an unearthly aspect, as by fits The flashes fell upon them; some lay down And hid their eyes and wept; and some did rest Their chins upon their clenched hands, and smil'd; And others hurried to and fro, and fed Their funeral piles with fuel, and look'd up With mad disquietude on the dull sky, The pall of a past world; and then again With curses cast them down upon the dust, And gnash'd their teeth and howl'd: the wild birds shriek'd And, terrified, did flutter on the ground, And flap their useless wings; the wildest brutes Came tame and tremulous; and vipers crawl'd And twin'd themselves among the multitude, Hissing, but stingless—they were slain for food. And War, which for a moment was no more, Did glut himself again: a meal was bought With blood, and each sate sullenly apart Gorging himself in gloom: no love was left; All earth was but one thought—and that was death Immediate and inglorious; and the pang Of famine fed upon all entrails—men Died, and their bones were tombless as their flesh; The meagre by the meagre were devour'd, Even dogs assail'd their masters, all save one, And he was faithful to a corse, and kept The birds and beasts and famish'd men at bay, Till hunger clung them, or the dropping dead Lur'd their lank jaws; himself sought out no food, But with a piteous and perpetual moan, And a quick desolate cry, licking the hand Which answer'd not with a caress—he died. The crowd was famish'd by degrees; but two Of an enormous city did survive, And they were enemies: they met beside The dying embers of an altar-place Where had been heap'd a mass of holy things For an unholy usage; they rak'd up, And shivering scrap'd with their cold skeleton hands The feeble ashes, and their feeble breath Blew for a little life, and made a flame Which was a mockery; then they lifted up Their eyes as it grew lighter, and beheld Each other's aspects—saw, and shriek'd, and died— Even of their mutual hideousness they died, Unknowing who he was upon whose brow Famine had written Fiend. The world was void, The populous and the powerful was a lump, Seasonless, herbless, treeless, manless, lifeless— A lump of death—a chaos of hard clay. The rivers, lakes and ocean all stood still, And nothing stirr'd within their silent depths; Ships sailorless lay rotting on the sea, And their masts fell down piecemeal: as they dropp'd They slept on the abyss without a surge— The waves were dead; the tides were in their grave, The moon, their mistress, had expir'd before; The winds were wither'd in the stagnant air, And the clouds perish'd; Darkness had no need Of aid from them—She was the Universe.

XII.—LOCHINVAR. Oh! young Lochinvar is come out of the west, Through all the wide Border his steed was the best; And save his good broadsword, he weapons had none, He rode all unarmed, and he rode all alone; So faithful in love, and so dauntless in war, There never was knight like the young Lochinvar. He stayed not for brake, and he stopped not for stone; He swam the Esk river, where ford there was none; But ere he alighted at Netherby gate, The bride had consented, the gallant came late; For a laggard in love, and a dastard in war, Was to wed the fair Ellen of brave Lochinvar. So boldly he entered the Netherby Hall, Among bride's-men, and kinsmen, and brothers, and all; Then spoke the bride's father, his hand on his sword - For the poor craven bridegroom said never a word - "Oh! come ye in peace here, or come ye in war, Or to dance at our bridal, young Lord Lochinvar?" "I long wooed your daughter, my suit you denied; Love swells like the Solway, but ebbs like its tide; And now am I come, with this lost love of mine, To lead but one measure, drink one cup of wine. There are maidens in Scotland more lovely by far, That would gladly be bride to the young Lochinvar." The bride kissed the goblet: the knight took it up, He quaffed off the wine, and he threw down the cup. She looked down to blush, and she looked up to sigh, With a smile on her lips and a tear in her eye. He took her soft hand, ere her mother could bar - "Now tread we a measure!" said young Lochinvar. So stately his form, and so lovely her face, That never a hall such a galliard did grace; While her mother did fret, and her father did fume, And the bridegroom stood dangling his bonnet and plume: And the bride's-maidens whispered, "'Twere better by far To have matched our fair cousin with young Lochinvar." One touch to her hand, and one word in her ear, When they reached the hall-door, and the charger stood near; So light to the croup the fair lady he swung, So light to the saddle before her he sprung. "She is won! we are gone, over bank, bush, and scaur; They'll have fleet steeds that follow," quoth young Lochinvar. There was mounting 'mong Graemes of the Netherby clan; Forsters, Fenwicks, and Musgraves, they rode and they ran: There was racing and chasing on Cannobie Lee, But the lost bride of Netherby ne'er did they see. So daring in love, and so dauntless in war, Have ye e'er heard of gallant like young Lochinvar?

It was my father who called the city the Mansion on the River. He was talking about Charleston, South Carolina, and he was a native son, peacock proud of a town so pretty it makes your eyes ache with pleasure just to walk down its spellbinding, narrow streets. Charleston was my father’s ministry, his hobbyhorse, his quiet obsession, and the great love of his life. His bloodstream lit up my own with a passion for the city that I’ve never lost nor ever will. I’m Charleston-born, and bred. The city’s two rivers, the Ashley and the Cooper, have flooded and shaped all the days of my life on this storied peninsula. I carry the delicate porcelain beauty of Charleston like the hinged shell of some soft-tissued mollusk. My soul is peninsula-shaped and sun-hardened and river-swollen. The high tides of the city flood my consciousness each day, subject to the whims and harmonies of full moons rising out of the Atlantic. I grow calm when I see the ranks of palmetto trees pulling guard duty on the banks of Colonial Lake or hear the bells of St. Michael’s calling cadence in the cicada-filled trees along Meeting Street. Deep in my bones, I knew early that I was one of those incorrigible creatures known as Charlestonians. It comes to me as a surprising form of knowledge that my time in the city is more vocation than gift; it is my destiny, not my choice. I consider it a high privilege to be a native of one of the loveliest American cities, not a high-kicking, glossy, or lipsticked city, not a city with bells on its fingers or brightly painted toenails, but a ruffled, low-slung city, understated and tolerant of nothing mismade or ostentatious. Though Charleston feels a seersuckered, tuxedoed view of itself, it approves of restraint far more than vainglory. As a boy, in my own backyard I could catch a basket of blue crabs, a string of flounder, a dozen redfish, or a net full of white shrimp. All this I could do in a city enchanting enough to charm cobras out of baskets, one so corniced and filigreed and elaborate that it leaves strangers awed and natives self-satisfied. In its shadows you can find metalwork as delicate as lace and spiral staircases as elaborate as yachts. In the secrecy of its gardens you can discover jasmine and camellias and hundreds of other plants that look embroidered and stolen from the Garden of Eden for the sheer love of richness and the joy of stealing from the gods. In its kitchens, the stoves are lit up in happiness as the lamb is marinating in red wine sauce, vinaigrette is prepared for the salad, crabmeat is anointed with sherry, custards are baked in the oven, and buttermilk biscuits cool on the counter.

Although your mind lies beyond birth and death, this illusory body does die, so practice while remembering death […] The guru said: Human beings don't think of death. A man's life is like a pile of chaff or a feather on a mountain pass. The demon Lord of Death comes suddenly, like an avalanche or a storm. Disturbing emotions are like straw catching fire. Your life-span decreases like the shadows of the setting sun […] This life is crossed in a brief moment, but samsara is endless. What will you do in the next life? Also, the length of this life is not guaranteed: the time of death lies uncertain, and like a convict taken to the scaffold, you draw closer to death with each step. All beings are impermanent and die. Haven't you heard about the people who died in the past? Haven't you seen any of your relatives die? Don't you notice that we grow old? And still, rather than practicing the Dharma, you forget about past grief. Chased by temporary circumstances, tied by the rope of dualistic fixation, exhausted by the river of desire, caught in the web of samsaric existence, held captive by the tight shackles of karmic ripening - even when the tidings of the Dharma reach you, you still cling to diversions and remain careless. Is it that death doesn't happen to people like you? I pity all sentient beings who think in this way! The guru said: When you keep in mind the misery of dying. it becomes clear that all activities are causes for suffering. so give them up. Cut all ties, even the smallest, and meditate in solitude on the remedy of emptiness. Nothing whatsoever will help you at the time of death, so practice the Dharma since it is your best companion...

The dead man, Hippolytus continues, will rise again by passing through the “door of heaven.” Jacob saw the gate of heaven on his way to Mesopotamia, “but they say Mesopotamia is the stream of the great ocean that flows from the midst of the perfect man.” This is the gate of heaven of which Jacob said: “How terrible is this place! This is no other but the house of God, and the gate of heaven.”120 The stream that flows out of the Original Man (the gate of heaven) is interpreted here as the flood-tide of Oceanus, which, as we have seen, generates the gods. The passage quoted by Hippolytus probably refers to John 7 : 38 or to an apocryphal source common to both. The passage in John—“He who believes in me, as the scripture has said, Out of his belly shall flow rivers of living water”—refers to a nonbiblical source, which, however, seemed scriptural to the author. Whoever drinks of this water, in him it shall be a fountain of water springing up into eternal life, says Origen.121 This water is the “higher” water, the aqua doctrinae, the rivers from the belly of Christ, and the divine life as contrasted with the “lower” water, the aqua abyssi, where the darknesses are, and where dwell the Prince of this world and the deceiving dragon and his angels.122 The river of water is the “Saviour” himself.123 Christ is the river that pours into the world through the four gospels,124 like the rivers of Paradise. I have purposely cited the ecclesiastical allegories in greater detail here, so that the reader can see how saturated Gnostic symbolism is in the language of the Church, and how, on the other hand, particularly in Origen, the liveliness of his amplifications and interpretations has much in common with Gnostic views. Thus, to him as to many of his contemporaries and successors, the idea of the cosmic correspondence of the “spiritual inner man” was something quite familiar: in his first Homily on Genesis he says that God first created heaven, the whole spiritual substance, and that the counterpart of this is “our mind, which is itself a spirit, that is, it is our spiritual inner man which sees and knows God.”125