Road Glide Quotes

Who is the third who walks always beside you? When I count, there are only you and I together But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman -But who is that on the other side of you?

I’m a modern man, a man for the millennium. Digital and smoke free. A diversified multi-cultural, post-modern deconstruction that is anatomically and ecologically incorrect. I’ve been up linked and downloaded, I’ve been inputted and outsourced, I know the upside of downsizing, I know the downside of upgrading. I’m a high-tech low-life. A cutting edge, state-of-the-art bi-coastal multi-tasker and I can give you a gigabyte in a nanosecond! I’m new wave, but I’m old school and my inner child is outward bound. I’m a hot-wired, heat seeking, warm-hearted cool customer, voice activated and bio-degradable. I interface with my database, my database is in cyberspace, so I’m interactive, I’m hyperactive and from time to time I’m radioactive. Behind the eight ball, ahead of the curve, ridin the wave, dodgin the bullet and pushin the envelope. I’m on-point, on-task, on-message and off drugs. I’ve got no need for coke and speed. I've got no urge to binge and purge. I’m in-the-moment, on-the-edge, over-the-top and under-the-radar. A high-concept, low-profile, medium-range ballistic missionary. A street-wise smart bomb. A top-gun bottom feeder. I wear power ties, I tell power lies, I take power naps and run victory laps. I’m a totally ongoing big-foot, slam-dunk, rainmaker with a pro-active outreach. A raging workaholic. A working rageaholic. Out of rehab and in denial! I’ve got a personal trainer, a personal shopper, a personal assistant and a personal agenda. You can’t shut me up. You can’t dumb me down because I’m tireless and I’m wireless, I’m an alpha male on beta-blockers. I’m a non-believer and an over-achiever, laid-back but fashion-forward. Up-front, down-home, low-rent, high-maintenance. Super-sized, long-lasting, high-definition, fast-acting, oven-ready and built-to-last! I’m a hands-on, foot-loose, knee-jerk head case pretty maturely post-traumatic and I’ve got a love-child that sends me hate mail. But, I’m feeling, I’m caring, I’m healing, I’m sharing-- a supportive, bonding, nurturing primary care-giver. My output is down, but my income is up. I took a short position on the long bond and my revenue stream has its own cash-flow. I read junk mail, I eat junk food, I buy junk bonds and I watch trash sports! I’m gender specific, capital intensive, user-friendly and lactose intolerant. I like rough sex. I like tough love. I use the “F” word in my emails and the software on my hard-drive is hardcore--no soft porn. I bought a microwave at a mini-mall; I bought a mini-van at a mega-store. I eat fast-food in the slow lane. I’m toll-free, bite-sized, ready-to-wear and I come in all sizes. A fully-equipped, factory-authorized, hospital-tested, clinically-proven, scientifically- formulated medical miracle. I’ve been pre-wash, pre-cooked, pre-heated, pre-screened, pre-approved, pre-packaged, post-dated, freeze-dried, double-wrapped, vacuum-packed and, I have an unlimited broadband capacity. I’m a rude dude, but I’m the real deal. Lean and mean! Cocked, locked and ready-to-rock. Rough, tough and hard to bluff. I take it slow, I go with the flow, I ride with the tide. I’ve got glide in my stride. Drivin and movin, sailin and spinin, jiving and groovin, wailin and winnin. I don’t snooze, so I don’t lose. I keep the pedal to the metal and the rubber on the road. I party hearty and lunch time is crunch time. I’m hangin in, there ain’t no doubt and I’m hangin tough, over and out!

Yet when we came back, from the hyacinth garden, Yours arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing. Looking into the heart of light, the silence. Oed und leer das Meer ('waste and empty in the sea')" "I remember Those are pearls that were his eyes." "Who is the third who walks always beside you? When I count, there are only you and I together But when I look ahead, up the white road There is always another one walking beside you, Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman But who is that on the other side of you?

By this time, half the people in High Norland were gathered in Royal Square to stare at the castle. They all watched with disbelief as the castle rose slightly into the air and glided toward the road that led southward. It was hardly more than an alley, really. "It'll never fit!" people said. But the castle somehow squeezed itself narrow enough to drift away along it and out of sight. The citizens of High Norland gave it a cheer as it went.

Imagine that the whole world belongs to you. The birch trees in New Hampshire's White Mountains are yours, and so are the cirrus clouds in the western sky at dusk and the black sand on the beaches of Hawaii's big island. You own everything, my dear sovereign - the paintings in all the museums of the world, as well as the internet and the wild horses and the roads. Please take good care of it all, OK? Be an enlightened monarch who treats your domain with reverent responsibility. And make sure you also enjoy the full measure of fun that comes with such mastery. Glide through life as if all of creation is yearning to honor and entertain you.

I let myself into the cellar, locked the door behind me. The cellar was cold. I found the whisky, let myself out of the cellar and locked it, turned all the lights out, gave Mrs McSpadden the bottle, accepted a belated new-year kiss from her, then made my way out through the kitchen and the corridor and the crowded hall where the music sounded loud and people were laughing, and out through the now almost empty entrance hall and down the steps of the castle and down the driveway and down to Gallanach, where I walked along the esplanade - occasionally having to wave to say 'Happy New Year' to various people I didn't know - until I got to the old railway pier and then the harbour, where I sat on the quayside, legs dangling, drinking my whisky and watching a couple of swans glide on black, still water, to the distant sound of highland jigs coming from the Steam Packet Hotel, and singing and happy-new-year shouts echoing in the streets of the town, and the occasional sniff as my nose watered in sympathy with my eyes.

From the beginning there were drums, beating out world rhythm—the booming, never-failing tide on the beach; the four seasons, gliding smoothly, one from the other; when the birds come, when they go, the bear hibernating for his winter sleep. Unfathomable the way, yet all in perfect time. Watch the heartbeat in your wrist—a precise pulsing beat of life’s Drum—with loss of timing you are ill. —JIMALEE BURTON (HO-CHEE-NEE), CHEROKEE, 1974

That's the myth of it, the required lie that allows us to render our judgments. Parasites, criminals, dope fiends, dope peddlers, whores--when we can ride past them at Fayette and Monroe, car doors locked, our field of vision cautiously restricted to the road ahead, then the long journey into darkness is underway. Pale-skinned hillbillies and hard-faced yos, toothless white trash and gold-front gangsters--when we can glide on and feel only fear, we're well on the way. And if, after a time, we can glimpse the spectacle of the corner and manage nothing beyond loathing and contempt, then we've arrived at last at that naked place where a man finally sees the sense in stretching razor wire and building barracks and directing cattle cars into the compound. It's a reckoning of another kind, perhaps, and one that becomes a possibility only through the arrogance and certainty that so easily accompanies a well-planned and well-tended life. We know ourselves, we believe in ourselves; from what we value most, we grant ourselves the illusion that it's not chance in circumstance, that opportunity itself isn't the defining issue. We want the high ground; we want our own worth to be acknowledged. Morality, intelligence, values--we want those things measured and counted. We want it to be about Us. Yes, if we were down there, if we were the damned of the American cities, we would not fail. We would rise above the corner. And when we tell ourselves such things, we unthinkably assume that we would be consigned to places like Fayette Street fully equipped, with all the graces and disciplines, talents and training that we now posses. Our parents would still be our parents, our teachers still our teachers, our broker still our broker. Amid the stench of so much defeat and despair, we would kick fate in the teeth and claim our deserved victory. We would escape to live the life we were supposed to live, the life we are living now. We would be saved, and as it always is in matters of salvation, we know this as a matter of perfect, pristine faith. Why? The truth is plain: We were not born to be niggers.

Who is the third who walks always beside you? 360 When I count, there are only you and I together But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman —But who is that on the other side of you?

Life is a dance toward God, I began to think. And the dance is not so graceful as we might want. While we glide and swing out practiced sway, God crowds our feet, bumps our toes, and scuffs our shoes. So we learn to dance with the One who made us. And it is a difficult dance to learn, because its steps are foreign.

Those people fleeing down the main road look like a flock of sheep… They’re going along like frightened sheep…’ In vain did Fabrice stress the word sheep, his companions no longer remembered being annoyed by the word an hour earlier. This demonstrates one of the differences between the Italian and the French characters: the Frenchman is undoubtedly the happier of the two, for he glides lightly over life’s incidents and harbours no resentment.

If there’s one place, then, where we can intervene in a way that will pay dividends for society down the road, it’s in the classroom. Yet that’s barely happening. All the big debates in education are about format. About delivery. About didactics. Education is consistently presented as a means of adaptation – as a lubricant to help you glide more effortlessly through life. On the education conference circuit, an endless parade of trend watchers prophesy about the future and essential twenty-first-century skills, the buzzwords being “creative,” “adaptable,” and “flexible.” The focus, invariably, is on competencies, not values. On didactics, not ideals. On “problem-solving ability,” but not which problems need solving. Invariably, it all revolves around the question: Which knowledge and skills do today’s students need to get hired in tomorrow’s job market – the market of 2030? Which is precisely the wrong question. In 2030, there will likely be a high demand for savvy accountants untroubled by a conscience. If current trends hold, countries like Luxembourg, the Netherlands, and Switzerland will become even bigger tax havens, enabling multinationals to dodge taxes even more effectively, leaving developing countries with an even shorter end of the stick. If the aim of education is to roll with these kinds of trends rather than upend them, then egotism is set to be the quintessential twenty-first-century skill. Not

To say the loaner was not pretty was an understatement. It was a 1907's olive-green Buick Century with a white top. Lindsay felt like she was driving her living-room couch, but despite the looks, the engine purred and it glided over potholes in the road like butter on toast.

I break out laughing. I frown. I yell and scream. Sometimes, if one jokes and giggles, one causes war. So I hide how tickled I am. Tears well up in my eyes. My body is a large city. Much grieving in one sector. I live in another part. Lakewater. Something on fire over here. I am sour when you are sour, sweet when you are sweet. You are my face and my back. Only through you can I know this back-scratching pleasure. Now people the likes of you and I come clapping, inventing dances, climbing into this high meadow. I am a spoiled parrot who eats only candy. I have no interest in bitter food. Some have been given harsh knowledge. Not I. Some are lame and jerking along. I am smooth and glidingly quick. Their road is full of washed-out places and long inclines. Mine is royally level, effortless. The huge Jerusalem mosque stands inside me, and women full of light. Laughter leaps out. It is the nature of the rose to laugh. It cannot help but laugh.

In January in Northern Russia, everything vanishes beneath a deep blanket of whiteness. Rivers, fields, trees, roads, and houses disappear, and the landscape becomes a white sea of mounds and hollows. On days when the sky is gray, it is hard to see where earth merges with air. On brilliant days when the sky is a rich blue, the sunlight is blinding, as if millions of diamonds were scattered on the snow, refracting light. In Catherine's time, the log roads of summer were covered with a smooth coating of snow and ice that enabled the sledges to glide smoothly at startling speeds; on some days, her procession covered a hundred miles.

It was almost twilight, long shadows of oaks and chestnuts crossing the unpaved road leading away from the village. This part of England had not yet been deforested to feed the fleets and factories that had sprung up in the major cities. The woodlands were still pristine and other-worldly, scored with small cartways half-buried by overhanging branches thick with leaves. In the gathering shade the trees were wreathed in vapor and mystery, like sentinels for a world of druids and warlocks and unicorns. A brown owl glided over the lane, mothlike in the darkening sky.

A scattering of pinpoint lights shows up in the blackness ahead. A town or village straddling the highway. The indicator on the speedometer begins to lose ground. The man glances in his mirror at the girl, a little anxiously as if this oncoming town were some kind of test to be met. An illuminated road sign flashes by: CAUTION! MAIN STREET AHEAD - SLOW UP The man nods grimly, as if agreeing with that first word. But not in the way it is meant. The lights grow bigger, spread out on either side. Street lights peer out here and there among the trees. The highway suddenly sprouts a plank sidewalk on each side of it. Dark store-windows glide by. With an instinctive gesture, the man dims his lights from blinding platinum to just a pale wash. A lunch-room window drifts by. ("Jane Brown's Body")

They were as unexpected as a mirage, those dancers on the Pont des Arts. Strictly speaking, the bridge is for pedestrians only, but waltzing is allowed on special nights like this. A guitar, a violin, an accordian -- a tune everyone knows -- and the dancers begin to twirl, spin, soar and glide all around us, in love with life at 3/4 time. Did I say waltzing was allowed? Under these circumstances, it's mandatory.

There are our ghosts,' Smithers said. It was a word he liked to use, said Brewster. Like most of us Brewster had read a few ghost stories, and to him the word 'ghosts' summoned up the creaking floorboards of a haunted house, shrouded white figures gliding silently through darkness, fluttering robes moving of their own bodiless accord, strangely transparent coaches travelling swiftly down a midnight road, and other such images quite remote from the chanting and drumming of desert folk in gaudy garb, with jingling anklets and necklaces, under a hot fierce sun. But the sounds of the Thar came from some invisible source, and to Smithers they were sounds made by ghosts. ("Smithers And The Ghosts Of The Thar")

Faith, is the road that goes straight past the gravel, and cloud-mesh dirt into a mirage, where still you believe to go straight, and when you finally catch up with it, it ends at a lake where you stretch your eyes across, but unable to glimpse the other side- so you jump in and swim, gliding each stroke with tiredness and swallow of water, you reach the end, put a hand out and pull yourself up on concrete, where the same road continues straight into another blue-white blur.

We used often to see a big one gliding across the dirt road ahead of the car, and the golden rule was never to accelerate and try to run it over, especially if the roof of the car was open, as ours often was. If you hit a snake at speed, the front wheel can flip it up into the air and there is a danger of it landing in your lap. I can think of nothing worse than that. The really bad snake in Tanganyika is the black mamba. It is the only one that has no fear of man and will deliberately attack him on sight. If it bites you, you are a gonner.

She felt surprised that it was still light outside, as if inside the store she had lost all sense of time. The pavement around her was heaving with humanity; pedicab after pedicab rushed past on the road, all of them taken. Pedestrians and vehicles flowed on by, as if separated from her by a wall of glass, and no more accessible than the elegant mannequins in the window of the Green House Ladies’ Clothing Emporium—you could look, but you couldn’t touch. They glided along, imperviously serene, as she stood on the outside, alone in her agitation.

The more south we were, the more deep a sky it seemed, till, in the Valley of Mexico, I thought it held back an element too strong for life, and that the flamy brilliance of blue stood off this menace and sometimes, like a sheath or silk membrane, shoed the weight it held in sags. So when later he would fly high over the old craters on the plain, coaly bubbles of the underworld, dangerous red everywhere from the sun, and then coats of snow on the peak of the cones—gliding like a Satan—well, it was here the old priests, before the Spaniards, waited for Aldebaran to come into the middle of heaven to tell them whether or not life would go on for another cycle, and when they received their astronomical sign built their new fire inside the split and emptied chest of a human sacrifice. And also, hereabouts, worshipers disguised as gods and as gods in the disguise of birds, jumped from platforms fixed on long poles, and glided as they spun by the ropes—feathered serpents, and eagles too, the voladores, or fliers. There still are such plummeters, in market places, as there seem to be remnants or conversions or equivalents of all the old things. Instead of racks or pyramids of skulls still in their hair and raining down scraps of flesh there are corpses of dogs, rats, horses, asses, by the roads; the bones dug out of the rented graves are thrown on a pile when the lease is up; and there are the coffins looking like such a rough joke on the female form, sold in the open shops, black, white, gray, and in all sizes, with their heavy death fringes daubed in Sapolio silver on the black. Beggars in dog voices on the church steps enact the last feebleness for you with ancient Church Spanish, and show their old flails of stump and their sores. The burden carriers with the long lines, hemp lines they wind over their foreheads to hold the loads on their backs, lie in the garbage at siesta and give themselves the same exhibited neglect the dead are shown. Which is all to emphasize how openly death is received everywhere, in the beauty of the place, and how it is acknowledged that anyone may be roughly handled—the proudest—pinched, slapped, and set down, thrown down; for death throws even worse in men’s faces and makes it horrible and absurd that one never touched should be roughly dumped under, dumped upon.

Who is the third who walks always beside you? When I count, there are only you and I together But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman —But who is that on the other side of you?

The beach was hours away by bicycle, forbidden, completely out of all bounds. Going there risked expulsion, destroyed the studying I was going to do for an important test the next morning, blasted the reasonable amount of order I wanted to maintain in my life, and it also involved the kind of long, labored bicycle ride I hated. “All right,” I said. We got our bikes and slipped away from Devon along a back road. Having invited me Finny now felt he had to keep me entertained. He told long, wild stories about his childhood; as I pumped panting up steep hills he glided along beside me, joking steadily. He analyzed my character, and he insisted on knowing what I disliked most about him (“You’re too conventional,” I said).

Germany, in the summer, is the perfection of the beautiful, but nobody has understood, and realized, and enjoyed the utmost possibilities of this soft and peaceful beauty unless he has voyaged down the Neckar on a raft. The motion of a raft is the needful motion; it is gentle, and gliding, and smooth, and noiseless; it calms down all feverish activities, it soothes to sleep all nervous hurry and impatience; under its restful influence all the troubles and vexations and sorrows that harass the mind vanish away, and existence becomes a dream, a charm, a deep and tranquil ecstasy. How it contrasts with hot and perspiring pedestrianism, and dusty and deafening railroad rush, and tedious jolting behind tired horses over blinding white roads!

And when spring comes to the City people notice one another in the road; notice the strangers with whom they share aisles and tables and the space where intimate garments are laundered. going in and out, in and out the same door, they handle the handle; on trolleys and park benches they settle thighs on a seat in which hundreds have done it too. Copper coins dropped in the palm have been swallowed by children and tested by gypsies, but it’s still money and people smile at that. It’s the time of year when the City urges contradiction most, encouraging you to buy street food when you have no appetite at all; giving you a taste for a single room occupied by you alone as well as a craving to share it with someone you passed in the street. Really there is no contradiction—rather it’s a condition; the range of what an artful City can do. What can beat bricks warming up to the sun? The return of awnings. The removal of blankets from horses’ backs. Tar softens under the heel and the darkness under bridges changes from gloom to cooling shade. After a light rain, when the leaves have come, tree limbs are like wet fingers playing in woolly green hair. Motor cars become black jet boxes gliding behind hoodlights weakened by mist. On sidewalks turned to satin figures move shoulder first, the crowns of their heads angled shields against the light buckshot that the raindrops are. The faces of children glimpsed at windows appear to be crying, but it is the glass pane dripping that makes it seem so.

Shuggie fixated on the comb gliding through the hair. He watched how each strand separated like burn water. “I think she is going to drink herself to death.” “Would you be sad?” asked the girl. He stopped combing her hair. “I would be gutted. Wouldn’t you?” She shrugged. “I dunno. I think it’s what all alkies want anyways.” She shivered. “To die, I mean. Some are just taking the slow road to it.

A morning-flowered dalliance demured and dulcet-sweet with ebullience and efflorescence admiring, cozy cottages and elixirs of eloquence lie waiting at our feet - We'll dance through fetching pleasantries as we walk ephemeral roads evocative epiphanies ethereal, though we know our hearts are linked with gossamer halcyon our day a harbinger of pretty things infused with whispers longing still and gamboling in sultry ways to feelings, all ineffable screaming with insouciance masking labyrinthine paths where, in our nonchalance, we walk through the lilt of love’s new morning rays. Mellifluous murmurings from a babbling brook that soothes our heated passion-songs and panoplies perplexed with thought of shadows carried off with clouds in stormy summer rains… My dear, and that I can call you 'dear' after ripples turned to crashing waves after pyrrhic wins, emotions drained we find our palace sunned and rayed with quintessential moments lit with wildflower lanterns arrayed on verandahs lush with mutual love, the softest love – our preferred décor of life's lilly-blossom gate in white-fenced serendipity… Twilight sunlit heavens cross our gardens, graced with perseverance, bliss, and thee, and thou, so splendid, delicate as a morning dove of charm and mirth – at least with me; our misty mornings glide through air... So with whippoorwill’d sweet poetry - of moonstones, triumphs, wonder-woven in chandliers of winglet cherubs wrought with time immemorial, crafted with innocence, stowed away and brought to light upon our day in hallelujah tapestries of ocean-windswept galleries in breaths of ballet kisses, light, skipping to the breakfast room cascading chrysalis's love in diaphanous imaginings delightful, fleeting, celestial-viewed as in our eyes which come to rest evocative, exuberant on one another’s moon-stowed dreams idyllic, in quiescent ways, peaceful in their radiance resplendent with a myriad of thought soothing muse, rhapsodic song until the somnolence of night spreads out again its shaded truss of luminescent fantasies waiting to be loved by us… Oh, love! Your sincerest pardons begged! I’ve gone too long, I’ve rambled, dear, and on and on and on and on - as if our hours were endless here… A morning toast, with orange-juiced lips exalting transcendent minds suffused with sunrise symphonies organic-born tranquilities sublimed sonorous assemblages with scintillas of eternity beating at our breasts – their embraces but a blushing, longing glance away… I’ll end my charms this enraptured morn' before cacophony and chafe coarse in crude and rough abrade when cynical distrust is laid by hoarse and leeching parasites, distaste fraught with smug disgust by hairy, smelly maladroit mediocrities born of poisoned wells grotesque with selfish lies - shrill and shrieking, biting, creeping around our love, as if they rose from Edgar Allen’s own immortal rumpled decomposing clothes… Oh me, oh my! I am so sorry! can you forgive me? I gone and kissed you for so long, in my morning imaginings, through these words, through this song - ‘twas supposed to be "a trifle treat," but little treats do sometimes last a little longer; and, oh, but oh, but if I could, I surly would keep you just a little longer tarrying here, tarrying here with me this pleasant morn

The ground was hard, the air was still, my road was lonely; I walked fast till I got warm, and then I walked slowly to enjoy and analyse the species of pleasure brooding for me in the hour and situation. It was three o’clock; the church bell tolled as I passed under the belfry: the charm of the hour lay in its approaching dimness, in the low-gliding and pale-beaming sun. I was a mile from Thornfield, in a lane noted for wild roses in summer, for nuts and blackberries in autumn, and even now possessing a few coral treasures in hips and haws, but whose best winter delight lay in its utter solitude and leafless repose. If a breath of air stirred, it made no sound here; for there was not a holly, not an evergreen to rustle, and the stripped hawthorn and hazel bushes were as still as the white, worn stones which causewayed the middle of the path. Far and wide, on each side, there were only fields, where no cattle now browsed; and the little brown birds, which stirred occasionally in the hedge, looked like single russet leaves that had forgotten to drop.

Where dost thou stand behind them all, my lover, hiding thyself in the shadows? They push thee and pass thee by on the dusty road, taking thee for naught. I wait here weary hours spreading my offerings for thee, while passers-by come and take my flowers, one by one, and my basket is nearly empty. The morning time is past, and the noon. In the shade of evening my eyes are drowsy with sleep. Men going home glance at me and smile and fill me with shame. I sit like a beggar maid, drawing my skirt over my face, and when they ask me, what it is I want, I drop my eyes and answer them not. Oh, how, indeed, could I tell them that for thee I wait, and that thou hast promised to come. How could I utter for shame that I keep for my dowry this poverty. Ah, I hug this pride in the secret of my heart. I sit on the grass and gaze upon the sky and dream of the sudden splendour of thy coming---all the lights ablaze, golden pennons flying over thy car, and they at the roadside standing agape, when they see thee come down from thy seat to raise me from the dust, and set at thy side this ragged beggar girl a-tremble with shame and pride, like a creeper in a summer breeze. But time glides on and still no sound of the wheels of thy chariot. Many a procession passes by with noise and shouts and glamour of glory. Is it only thou who wouldst stand in the shadow silent and behind them all? And only I who would wait and weep and wear out my heart in vain longing?

He’s coming off the bridge,” said Serge. “The rocks will start soon.” “Rocks?” “It’s local tradition, and another reason I love the Keys.” Serge stood and put on his sneakers. “It’s our version of when those people went out to the overpasses and waved at O. J. Simpson during the slow-motion chase. Except in the Keys, when there’s a high-speed pursuit on TV heading south, the locals line the road and wait for the car to come off the bridge to Key Largo. Last time was around Christmas.” “You’re right.” Coleman pointed at the TV again. “They’re lining the side of the road. They’re throwing rocks.” “And we’re at Mile Marker 105, so that gives us about three minutes.” Serge tightened the Velcro straps on his shoes. “Let’s go throw rocks.

If absolutely everything important is only happening on such a small screen, isn’t that a shame? Especially when the world is so overwhelmingly large and surprising? Are you missing too much? You can’t imagine it now, but you’ll look like me one day, even though you’ll feel just the same as you do now. You’ll catch a glimpse of yourself in the mirror and think how quickly it’s all gone, and I wonder if all the time you used watching those families whose lives are filmed for the television, and making those cartoons of yourselves with panting dog tongues, and chasing after that terrible Pokémon fellow…well, will it feel like time well spent? “Here lies Ms. Jackson, she took more steps than the other old biddies on her road”—is that the best I can leave behind? Is it all just designed to keep us looking down, or to give us the illusion that we have some sort of control over our chaotic lives? Will you do me a small favor, dears, and look up? Especially you New Yorkers and Londoners and other city dwellers who cross all those busy streets. How else will you take in the majesty of the buildings that have stood there for hundreds of years? How else will you run into an acquaintance on the street who might turn into a friend or a lover or even just recommend a good restaurant that no one has complained about on that app yet? If you never look out the window of the subway car, how will you see the boats gliding by on the East River, or have an idea that only you could have? Just look up for no reason, just for a moment here and there, or maybe for an entire day once in a while. Let the likes go unchecked and the quality of sleep go unnoticed. Que sera sera, my dears—whatever will be will be, whether we’re tracking it on our GPS devices or not.

He pulled back onto the empty road. There were a few ranch lights miles away, the black sky against the black terrain drawing them into the hem of the starry curtain. As he drove toward the clangor and flash of the noon arena he considered the old saddle bronc rider rubbing leather for thirty-seven years, Leecil riding off into the mosquito-clouded Canadian sunset, the ranch hand bent over a calf, slitting the scrotal sac. The course of life’s events seemed slower than the knife but not less thorough. There was more to it than that, he supposed, and heard again her hoarse, charged voice saying “Everything.” It was all a hard, fast ride that ended in the mud. He passed a coal train in the dark, the dense rectangles that were the cars gliding against indigo night, another, and another, and another. Very slowly, as slowly as light comes on a clouded morning, the euphoric heat flushed through him, or maybe just the memory of it.

A shadow appeared on the awnings further up the land, gliding across each rectangle of canvas towards my table, sinking in the sag, rising again at the edge, and moving on to the next with a flicker of dislocation, then gliding onwards. As it crossed the stripe of sunlight between two awnings, it threaded the crimson beak of a stork through the air, a few inches above the gap; then came a long white neck, the swell of snowy breast feathers and the six-foot motionless span of its white wings and the tips of the black flight feathers upturned and separated as fingers in the lift of the air current. The white belly followed, tapering, and then, trailing behind, the fan of its tail and long parallel legs of crimson lacquer, the toes of each of them closed and streamlined, but the whole shape flattening, when the band of sunlight was crossed, into a two-dimensional shadow once more, enormously displayed across the rectangle of cloth, as distinct and nearly as immobile, so languid was its flight, as an emblematic bird on a sail; then sliding across it and along the nearly still corridor of air between the invisible eaves and the chimneys, dipping along the curl of the lane like a sigh of wonder, and, at last, a furlong away slowly pivoting, at a gradual tilt, out of sight. A bird of passage like the rest of us.

When inanimate things ceased to commune with me like natural men, other dreams came to live with me. Animals took on lives and characteristics which nobody knew anything about except myself. Little things that people did or said grew into fantastic stories. There was a man who turned into an alligator for my amusement. All he did was live in a one-room house by himself down near Lake Belle. I did the rest myself. He came into the village one evening near dusk and stopped at the store. Somebody teased him about living out there by himself, and said that if he did not hurry up and get married, he was liable to go wild. I saw him tending his little garden all day, and otherwise just being a natural man. But I made an image of him for after dark that was different. In my imagination, his work-a-day hands and feet became the reptilian claws of an alligator. A tough, knotty hide crept over him, and his mouth became a huge snout with prong-toothed, powerful jaws. In the dark of the night, when the alligators began their nightly mysteries behind the cloaking curtain of cypress trees that all but hid Lake Belle, I could see him crawling from his door, turning his ugly head from left to right to see who was looking, then gliding down into the dark waters to become a ’gator among ’gators. He would mingle his bellow with other bull ’gator bellows and be strong and terrible. He was the king of ’gators and the others minded him. When I heard the thunder of bull ’gator voices from the lake on dark nights, I used to whisper to myself, “That’s Mr. Pendir! Just listen at him!

Thrasher" They were hiding behind hay bales, They were planting in the full moon They had given all they had for something new But the light of day was on them, They could see the thrashers coming And the water shone like diamonds in the dew. And I was just getting up, hit the road before it's light Trying to catch an hour on the sun When I saw those thrashers rolling by, Looking more than two lanes wide I was feelin' like my day had just begun. Where the eagle glides ascending There's an ancient river bending Down the timeless gorge of changes Where sleeplessness awaits I searched out my companions, Who were lost in crystal canyons When the aimless blade of science Slashed the pearly gates. It was then I knew I'd had enough, Burned my credit card for fuel Headed out to where the pavement turns to sand With a one-way ticket to the land of truth And my suitcase in my hand How I lost my friends I still don't understand. They had the best selection, They were poisoned with protection There was nothing that they needed, Nothing left to find They were lost in rock formations Or became park bench mutations On the sidewalks and in the stations They were waiting, waiting. So I got bored and left them there, They were just deadweight to me Better down the road without that load Brings back the time when I was eight or nine I was watchin' my mama's T.V., It was that great Grand Canyon rescue episode. Where the vulture glides descending On an asphalt highway bending Thru libraries and museums, galaxies and stars Down the windy halls of friendship To the rose clipped by the bullwhip The motel of lost companions Waits with heated pool and bar. But me I'm not stopping there, Got my own row left to hoe Just another line in the field of time When the thrasher comes, I'll be stuck in the sun Like the dinosaurs in shrines But I'll know the time has come To give what's mine. Neil Young, Rust Never Sleeps (1979)

If you drive fast enough on a rough road you glide over the bumps and skim the pot holes - it's a smooth ride. If you charge without fear over boulders and beach debris it's the same as running on hard flat sand. The only problem is slowing down, or stopping.

Those signs start at the top of the state, between the population centers, facing north on the interstate, nestled among all the other billboards that are only designed to reach out-of-state travelers driving south into Florida. So now you got signs for truck stops, motels with free Wi-Fi, citrus stands, fast food, and pictures of car crashes with jagged red lettering to remind people that they might be in pain from something that happened in Cleveland. I mean how does that work? Are this many people suddenly making major medical decisions on vacation? When you’re driving to Niagara Falls, do you see a hundred miles of billboards for joint-replacement surgery, ‘Call 1-800-HIP-OUCH’? . . . Or is it an impulse thing: ‘Let’s see, I’ve been on the road for hours, so I need to stop for gas, use the restroom, get a Big Mac and develop a drug problem.

The exquisite Rolls Royce glided effortlessly on the smooth country road. If I’d had to guess, I’d say we were about an hour outside of New York City by then. The trip was getting long, and I thought that it was a good thing I’d charged double for this one. The guy seemed like a whale, a high roller who knew exactly what he wanted. I’ve had a chance to meet a few

Life is a journey of curves, hills and flatlands appreciate all the roads for they are your life. Trust the curves, enjoy the hills and glide through the flatlands it is an amazing ride… ~Janiece Rendon Transition Strategist

THE CITY Our story begins in a city, with buildings and streets and bridges and parks. Humans were strolling, automobiles were driving, airships were flying, robots were hard at work. Weaving through the city streets was a delivery truck. The truck knew where to go, and how to get there, all by itself. It pulled up to a construction site and automatically unloaded some crates. A few more turns and it unloaded more crates down at the docks. The truck zigged and zagged across the city, delivering crates as it went, and then it merged onto a highway. Cars and buses and trucks were cruising along the highway together. But as the delivery truck continued, the traffic became lighter, the buildings became smaller, and the landscape became greener. With nothing but open road ahead, the truck accelerated to its top speed. The landscape outside was now just a green blur, occasionally broken by a flicker of gray as a town flew past. On and on the delivery truck went, racing over long bridges, shooting through mountain tunnels, gliding down straight stretches of highway, until it started to slow. It drifted from the fast lane to the exit lane, and then it rolled down a ramp and into farm country. Clouds of dust billowed up behind the truck as it drove past fields and fences. In the hazy distance, enormous barns loomed above the plains. The air was thick with the smells of soil and livestock. Robot crews methodically worked the crops and fed the animals and operated the massive farm machines. A hill gradually climbed into view. The hill was crowned with

You saved me, you know that?" she said as she let her fingers glide over his. His skin was warm and soft, his grip loose and unthreatening as he lifted his fingers to accommodate hers. But he was shaking his head. "No, I didn't," he said without once taking his eyes off the road. "You saved yourself. You made a choice, and stopped waiting for life to make it for you." She felt his fingers tighten against hers. "I understand now, that's the only way things ever change.

The interesting dynamic about human happiness in the marriage to work is that we can glide down the road in the metaphorical Jaguar XK 150, having a completely miserable, blazing argument with our partner while the wind is blowing unheeded through our hair. I can also find myself in the aptly name Ford Focus, laughing my way into a marvelous excursion. But neither Ford Focus nor Jaguar can guarantee us a place in the kingdom of happiness. It is the one in the driver's set, setting the destination and the attitude for the journey of work and vocation, who seems to make up our real possibilities for satisfaction over time. The difficult truth is that our kingdom does not have to be very big at all in order for us to do good work: what is difficult is simply starting the work and carrying on with it day after day. My work space can be a small corner of a table on a train or if we are really, really focused, a knee on which to balance a writing pad.

Nathan sits down beside me on the edge of the cushion and twists his hips to face me. He takes my leg and gently pulls it into his lap. It stings as he doctors up my three-inch road burn, but I barely notice because I’m too busy staring at him. Occasionally, his fingers glide over the healthy skin of my legs, and it sparks everywhere in my body.

girl. They rode silently while Coram thought, and drank. The threat about making him see things didn’t worry him much. Instead he thought of Thom’s performance in archery—it was enough to make a soldier cry. Alanna was much quicker than her brother. She rarely tired, even hiking over rough country. She had a feel for the fighting arts, and that was something that never could be learned. She was also as stubborn as a mule. Because he was absorbed in his thoughts, Coram never saw the wood snake glide across the road. Alanna—and Coram’s horse—spotted the slithery creature in the same second. The big gelding reared, almost throwing his master. Chubby stopped dead in the road, surprised by these antics.

I admire thee, master of the tides, Of the Yore-flood, of the year's fall; The recurb and the recovery of the gulf's sides, The girth of it and the wharf of it and the wall; Staunching, quenching ocean of a motionable mind; Ground of being, and granite of it: past all Grasp God, throned behind Death with a sovereignty that heeds but hides, bodes but abides; With a mercy that outrides The all of water, an ark For the listener; for the lingerer with a love glides Lower than death and the dark; A vein for the visiting of the past-prayer, pent in prison, The-last-breath penitent spirits—the uttermost mark Our passion-plungèd giant risen, The Christ of the Father compassionate, fetched in the storm of his strides. Now burn, new born to the world, Doubled-naturèd name, The heaven-flung, heart-fleshed, maiden-furled Miracle-in-Mary-of-flame, Mid-numbered he in three of the thunder-throne! Not a dooms-day dazzle in his coming nor dark as he came; Kind, but royally reclaiming his own; A released shower, let flash to the shire, not a lightning of fíre hard-hurled. Dame, at our door Drowned, and among our shoals, Remember us in the roads, the heaven-haven of the Reward: Our Kíng back, Oh, upon énglish sóuls! Let him easter in us, be a dayspring to the dimness of us, be a crimson-cresseted east, More brightening her, rare-dear Britain, as his reign rolls, Pride, rose, prince, hero of us, high-priest, Our hearts' charity's hearth's fire, our thoughts' chivalry's throng's Lord.

Melrose Avenue, Santa Monica - Dialogue on a terrace. SHE: You are jealous ? Are you jealous ? You are fucking jealous! . . . Let me say . . . You 're twenty and I am forty-two, and I'll give my fucking ass to fucking anybody . . . Do you know that? * He gets up, crosses Melrose for no reason, comes back, kneels down in front of her (younger, but as theatrical). HE: Do you love me? Do you love me? SHE: Yes . . . Yes, I love you . . . The Italian kneads his meatballs. An Indian is playing a video game and its shrill soundtrack provides a backing to the conversation. The woman herself speaks in a shrill, hysterical voice. It is pleasant in Los Angeles in November, on the Melrose terrace, around the middle of the night. Everyone is smiling somewhere. No passion. A scene American-style. The waiter takes the car keys and drags off the woman, who shows off her black-stockinged legs and pretends to be mad. A black man gets up and, as he passes, says to me: ' Too much love! ' Gliding along the road that runs beside the coast in a black Porsche is like penetrating slowly into the inside of your own body.

Passing a road called Laurel Canyon, I remembered a folksinger with a record named that and near-expected her to show up with a basket of sunflowers. Or Neil Young would amble toward me in a fringed leather jacket. Or J. D. Salinger himself, who’d become my mentor and order up poems from me like so many diner pancakes…. (What hurts so bad about youth isn’t the actual butt whippings the world delivers. It’s the stupid hopes playacting like certainties.) At one point a town car glided up, and my heart bounded like a doe as the window silently slid down. But it was a wrinkled lady in tennis whites, asking in bad Spanish if I was Luz from the agency.

Clambering up onto the embankment, I could see an undulating ribbon, a road that kept flowing outside of the frame, outside of the world. If you were lucky, you might catch sight of a boat there, one of those great flat boats gliding over the river in either direction, oblivious to the shores, to the trees, to the people who stand on the embankment, unreliable landmarks, perhaps, not worth remarking, just an audience to the boats’ own motion, so full of grace. I dreamed of working on a boat like that when I grew up—or even better, of becoming one of those boats.

Ravinel was used to driving at night. He preferred it, for he liked being alone and liked it all the more when tearing through the darkness at top speed. At night there was no need to slow down even at a village. The headlights lit up the road fantastically, making it seem like a canal stirred by a slight swell. Sometimes he could almost imagine he was in a speedboat. Then suddenly it would be like shooting down the slope of a switchback: the white posts bordering the road at the turnings would sweep giddily past, their reflectors glittering like precious stones. It was as if you yourself were conjuring up with a touch of your magic wand this unearthly fairy world, round which was a dim, shadowy void with no horizon. You dream. You leave your earthly flesh behind., to become an astral body gliding through a sleeping universe. Fields, streets, churches, stations. Created on the moment out of nothing and then swept away into nothingness again. A touch of the accelerator is sufficient to destroy them. Perhaps they have never really existed. Mere figments, created by you and lasting no longer than your whim, except, now and again, for an image that stamps itself on your retina like a dead leaf caught on your radiator—yet even that is even no more real than the rest.

Chet, Samek and Daleth”. It means lovingkindness and mercy. But even with the position of the letters themselves, Chet, Samek, Daleth, cries out poetically the loving nature of the God we love in actually telling us what lovingkindness and mercy really is. For the letters and its position tell us that the lovingkindness of God is a portal to His heart and a joining of our hearts to His so that we may find peace and rest for our souls. But is doesn’t stop there for we learn in this verse that the mercies of God are never consumed. The word consume is tamam, which carries the idea of completion. The road to God’s heart is never completed; there is no end. His heart is a well that will never run dry and when you plunge into that well of His heart, you can only fall deeper and deeper in one glorious glide to the depths of His being and never reach a bottom. The word tamam is spelled “Taw, Mem and Final Mem”. The Taw in tamam suggests a cycle or process. This cycle will never end; it just keeps spiraling around. It is a cycle