Roofing Inspirational Quotes

Why did she do it? Nobody dared to ask. Because - what courage! Who had the courage to burn herself? Twenty aspirin, a little slit alongside the veins of the arm, maybe even a bad half hour standing on a roof: We've all had those. And somewhat more dangerous things, like putting a gun in your mouth. But you put it there, you taste it, it's cold and greasy, your finger is on the trigger, and you find that a whole world lies between this moment and the moment you've been planning, when you'll pull the trigger. That world defeats you. You put the gun back in the drawer. You'll have to find another way. What was that moment like for her? The moment she lit the match. Had she already tried roofs and guns and aspirins? Or was it just an inspiration? I had an inspiration once. I woke up one morning and I knew that today I had to swallow fifty aspirin. It was my task: my job for the day. I lined them up on my desk and took them one by one, counting. But it's not the same as what she did. I could have stopped, at ten, or at thirty. And I could have done what I did do, which was go onto the street and faint. Fifty aspirin is a lot of aspirin, but going onto the street and fainting is like putting the gun back in the drawer. She lit the match.

Just 'cause there's snow on the roof doesn't mean there's not a fire inside.

Keep me up till five because all your stars are out, and for no other reason…Oh dare to do it Buddy! Trust your heart. You’re a deserving craftsman. It would never betray you. Good night. I’m feeling very much over-excited now, and a little dramatic, but I think I’d give almost anything on earth to see you writing a something, an anything, a poem, a tree, that was really and truly after your own heart.

I love libraries. I love books. There is something sacred, I think, about a great library because it represents the preservation of the wisdom, the learning, the pondering, of men and women of all the ages accumulated together under one roof to which we can have access as our needs require.

And one fine day the goddess of the wind kisses the foot of man, that mistreated, scorned foot, and from that kiss the soccer idol is born. He is born in a straw crib in a tin-roofed shack and he enters the world clinging to a ball.

But he could not return; he was afraid of what lay ahead, he dreaded the unknown, but it was easier to walk forwards than backwards.

The blessing hands of Christ are like a roof that protects us. But at the same time, they are a gesture of opening up, tearing the world open so that heaven my enter in, may become "present" within it.

Morning Short List 1. Woke up ✓ 2. Air to breath ✓ 3. Food to eat ✓ 4. Roof over head ✓ ...yep, it's a Good day!

There are those who say that spiritual enlightenment is achieved through the denial of oneself; you must deny yourself many things, go and live in a mountaintop, never mingle with other people, talk to the birds..but I say to you, why should you dismantle your home? Where is the meaning in removing the bricks from your walls one by one? What is the purpose in uprooting your floors? Is there any significance in only allowing yourself a tin roof and a muddy bed? Why deny your house its structure? A truly enlightened soul is strong enough, is bright enough to live and shine through, even in a beautiful house! There is no need to ransack the house in order to see an inner beauty etched against a distraught surrounding. A bright and beautiful soul can shine forth even from inside an equally beautiful surrounding.

Don't only learn from the rich and successful men, also learn from the poor and those that failed woefully, for in their failures lies the secret of success as well.

The Gingerbread House has four walls, a roof, a door, a window, and a chimney. It is decorated with many sweet culinary delights on the outside. But on the inside there is nothing—only the bare gingerbread walls. It is not a real house—not until you decide to add a Gingerbread Room. That’s when the stories can move in. They will stay in residence for as long as you abstain from taking the first gingerbread bite.

I was sitting on the roof, and she didn't see me. I sit on the roof a lot. People never think to look up.

Vieni niekai, gyvenime visaip atsitinka...

The little house is not too small To shelter friends who come to call. Though low the roof and small its space It holds the Lord's abounding grace, And every simple room may be Endowed with happy memory. The little house, severly plain, A wealth of beauty may contain. Within it those who dwell may find High faith which makes for peace of mind, And that sweet understanding which Can make the poorest cottage rich. The little house can hold all things From which the soul's contentment springs. 'Tis not too small for love to grow, For all the joys that mortals know, For mirth and song and that delight Which make the humblest dwelling bright.

Don't cheat the foundation of a house because you want to save for the roofing for at the end, you will have only roofed rubbles.

It is difficult for one to see the roof of a house when one is on the inside of that same house. The same is true when seeing something from a great distance, where vision is distorted.

Bad news doesn't hurt as much, if you hear it in good company. It's like, if somebody pushes you out of a 5th floor window and you bounce off an awning, a car roof, and a pile of plastic garbage bags before you smash onto the pavement, you've got a pretty good chance of surviving.

Growing up, I used to climb out my window onto the roof and look up at the stars. There, in the quiet, I would write stories inside my head.

Then it happened. One night as the rain beat on the slanted kitchen roof a great spirit slipped forever into my life. I held his book in my hands and trembled as he spoke to me of man and the world, of love and wisdom, pain and guilt, and I knew I would never be the same. His name was Fyodor Mikhailovich Dostoyevsky. He knew more of fathers and sons than any man in the world, and of brothers and sisters, priests and rogues, guilt and innocence. Dostoyevsky changed me. The Idiot, The Possessed, The Brothers Karamazov, The Gambler. He turned me inside out. I found I could breathe, could see invisible horizons. The hatred for my father melted. I loved my father, poor, suffering, haunted wretch. I loved my mother too, and all my family. It was time to become a man, to leave San Elmo and go out into the world. I wanted to think and feel like Dostoyevsky. I wanted to write. The week before I left town the draft board summoned me to Sacramento for my physical. I was glad to go. Someone other than myself could make my decisions. The army turned me down. I had asthma. Inflammation of the bronchial tubes. “That’s nothing. I’ve always had it.” “See your doctor.” I got the needed information from a medical book at the public library. Was asthma fatal? It could be. And so be it. Dostoyevsky had epilepsy, I had asthma. To write well a man must have a fatal ailment. It was the only way to deal with the presence of death.

Dear Future Daughter: 1) When you’re at some party, chain smoking on the roof with some strange girl with blue hair and exorbitant large dark eyes, ask her about her day. I promise you, you won’t regret it. Often times you’ll find the strangest of people have the most captivating of stories to tell. 2) Please, never mistake desire for love. Love will engulf your soul, whilst desire will emerge as acid, slowly making it’s way through your veins, gradually burning you from the inside out. 3) No one is going to fucking save you, anything you’ve read or heard otherwise is bullshit. 4) One day a boy is going to come along who’s touch feels like fire and who’s words taste like vanilla, when he leaves you, you will want to die. If you know anything at all, know that it is only temporary. 5) Your mental health comes before school baby, always. If its midnight, and you have an exam the next day but your hands have been shaking for the past hour and a half and you’re not so sure you want to be alive anymore, pull out that carton of Ben and Jerry’s and afterwards, go the fuck to bed. So what if you get a 68% on the exam the next day? You took care of yourself and at the end of the day that will always come before a high test score. To hell with anyone who tells you differently.

Don't sell the warmer for an air conditioner just because its summer, for in winter, you will have to do the reverse.

But something he'd come to realize on the roof, leaning out, thinking about what would happen if he leaned too far, was that a boy's life could still matter to himself.

but I say give me rain, rain, rain on the shingle roof for roses and inspiration every time

My pet-sitting day ends around sunset, and it's very satisfying to know that I've made several living beings happy that day. That I left their food bowls sparkling clean and fresh water in their water bowls. That I brushed them so their coats shined, and played with them until all our hearts were beating faster. That I kissed them goodbye and left them with their tails wagging or flipping or at least raised in a happy kind of way. That's a heck of a lot more than any president, pope, prime minister, or potentate can say, and I wouldn't switch places with any of them.

Father Brendan Flynn: "A woman was gossiping with her friend about a man whom they hardly knew - I know none of you have ever done this. That night, she had a dream: a great hand appeared over her and pointed down on her. She was immediately seized with an overwhelming sense of guilt. The next day she went to confession. She got the old parish priest, Father O' Rourke, and she told him the whole thing. 'Is gossiping a sin?' she asked the old man. 'Was that God All Mighty's hand pointing down at me? Should I ask for your absolution? Father, have I done something wrong?' 'Yes,' Father O' Rourke answered her. 'Yes, you ignorant, badly-brought-up female. You have blamed false witness on your neighbor. You played fast and loose with his reputation, and you should be heartily ashamed.' So, the woman said she was sorry, and asked for forgiveness. 'Not so fast,' says O' Rourke. 'I want you to go home, take a pillow upon your roof, cut it open with a knife, and return here to me.' So, the woman went home: took a pillow off her bed, a knife from the drawer, went up the fire escape to her roof, and stabbed the pillow. Then she went back to the old parish priest as instructed. 'Did you gut the pillow with a knife?' he says. 'Yes, Father.' 'And what were the results?' 'Feathers,' she said. 'Feathers?' he repeated. 'Feathers; everywhere, Father.' 'Now I want you to go back and gather up every last feather that flew out onto the wind,' 'Well,' she said, 'it can't be done. I don't know where they went. The wind took them all over.' 'And that,' said Father O' Rourke, 'is gossip!

Hospitality is the act of making people feel at home - when you wish they were.

Wisemen's minds and hearts live together under the same roof of wisdom

Happiness is like a bird. If it chooses to sit on your roof, you cannot capture it and put it in a cage.

If you have food on your table, clothes on your back, a roof on your head, and a dream in your heart, you have everything you need in life.

Don't compare the size of your roof with the size of the sky.

The question that lingers is, how much was I a factor in my own survival, and how much was science, and how much miracle? I don't have the answer to that question. Other people look to me for the answer, I know. But if I could answer it, we would have the cure for cancer, and what's more, we would fathom the true meaning of our existences. I can deliver motivation, inspiration, hope, courage, and counsel, but I can't answer the unknowable. Personally, I don't need to try. I 'm content with simply being alive to enjoy the mystery. Good Joke: A man is caught in a flood, and as the water rises he climbs to the roof of his house and waits to be rescued. A guy in a motorboat comes by, and he says, "Hop in, I'll save you." "No thanks," the man on the rooftop says. "My Lord will save me." But the floodwaters keep rising. A few minutes later, a rescue plane flies overhead and the pilot drops a line. "No, thanks," the man on the rooftop says. "My Lord will save me." But the floodwaters rise ever higher, and finally, they overflow the roof and the man drowns. When he gets to heaven, he confronts God. "My Lord, why didn't you save me?" he implores. "You idiot," God says. "I sent a boat, I sent you a plane." I think in a way we are all just like the guy on the rooftop. Things take place, there is a confluence of events and circumstances, and we can't always know their purpose, or even if there is one. But we can take responsibility for ourselves and be brave.

In his trip to Bethlehem Mark Twain had reported that all sects of Christians, except Protestants, had chapels under the roof of the Church of the Holy Sepulchre. However, he also observed that one group dared not trespass on the other’s territory, proving beyond doubt, he noted, that even the grave of the Savior couldn’t inspire peaceful worship among different beliefs.

Life is govern by principles not by how you feel.Just image a farmer who does not sow his seeds & decides that he is going throw them on the roof because he feels so, well he is sure not going to have a harvest.

The Bible tells us that, 'A quarrelsome wife is like the constant dripping of a leaky roof” (Proverbs 19:13), but that doesn’t mean women should not speak up. It means we should not speak up in a quarrelsome way.

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining-board, which I have padded with our dog's blanket and the tea-cosy. I can't say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring - I wrote my very best poem while sitting on the hen-house. Though even that isn't a very good poem. I have decided my best poetry is so bad that I mustn't write any more of it. Drips from the roof are plopping into the water-butt by the back door. The view through the windows above the sink is excessively drear. Beyond the dank garden in the courtyard are the ruined walls on the edge of the moat. Beyond the moat, the boggy ploughed fields stretch to the leaden sky. I tell myself that all the rain we have had lately is good for nature, and that at any moment spring will surge on us. I try to see leaves on the trees and the courtyard filled with sunlight. Unfortunately, the more my mind's eye sees green and gold, the more drained of all colour does the twilight seem. It is comforting to look away from the windows and towards the kitchen fire, near which my sister Rose is ironing - though she obviously can't see properly, and it will be a pity if she scorches her only nightgown. (I have two, but one is minus its behind.) Rose looks particularly fetching by firelight because she is a pinkish person; her skin has a pink glow and her hair is pinkish gold, very light and feathery. Although I am rather used to her I know she is a beauty. She is nearly twenty-one and very bitter with life. I am seventeen, look younger, feel older. I am no beauty but I have a neatish face. I have just remarked to Rose that our situation is really rather romantic - two girls in this strange and lonely house. She replied that she saw nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud. I must admit that our home is an unreasonable place to live in. Yet I love it. The house itself was built in the time of Charles II, but it was grafted on to a fourteenth-century castle that had been damaged by Cromwell. The whole of our east wall was part of the castle; there are two round towers in it. The gatehouse is intact and a stretch of the old walls at their full height joins it to the house. And Belmotte Tower, all that remains of an even older castle, still stands on its mound close by. But I won't attempt to describe our peculiar home fully until I can see more time ahead of me than I do now. I am writing this journal partly to practise my newly acquired speed-writing and partly to teach myself how to write a novel - I intend to capture all our characters and put in conversations. It ought to be good for my style to dash along without much thought, as up to now my stories have been very stiff and self-conscious. The only time father obliged me by reading one of them, he said I combined stateliness with a desperate effort to be funny. He told me to relax and let the words flow out of me.

(I know, it's a poem but oh well). Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sun-down--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best-- mechanics, boatmen, farmers, Or among the savans--or to the soiree--or to the opera, Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct, and in its place. To me, every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?

She loaded 'Gypsy', her favorite Fleetwood Mac song, into the CD player and remembered dancing to the magical rhythms and harmonizing with her mother so long ago, virtually levitating as though the song lifted them, weightless as roof angels, above the living room floor.

Our father came to sleep in our house that night. He carried a small suitcase with a black mourning suit and a pair of polished shoes. Corrigan stopped him as he made his way up the stairs. 'Where d'you think you're going?'Our father gripped the bannister. His hands were liverspotted and I could see him trembling in his pause. 'That's not your room,' sad Corrigan. Our father tottered on the stairs. He took another step up. 'Don't,' said my brother. His voice was clear, full, confidant. Our father stood stunned. He climbed one more step and then turned, descended, looked around, lost. 'My own sons,' he said. We made a bed for him on a sofa in the living room, but even then Corrigan refused to stay under the same roof; he went walking in the direction of the city center and I wondered what alley he might be found in later that night, what fist he might walk into, whose bottle he might climb down inside.

Impossible. Sunk on its haunches in a predatory pose, a creature spread its long, curled fingers over the tiles on the roof, sniffing them. Its mottled, olive-grey skin winked in the uncertain March sunlight. Truly, a thing that didn’t belong here in ordinary suburbia, overlooking a garden that burst with beauty and life.

As happens in dreams, when a perfectly harmless object inspires us with fear and thereafter is frightening every time we dream of it (and even in real life retains disquieting overtones), so Dreyer's presence became for Franz a refined torture, an implacable menace. [ ... H]e could not help cringing when, with a banging of doors in a dramatic draft, Martha and Dreyer entered simultaneously from two different rooms as if on a too harshly lit stage. Then he snapped to attention and in this attitude felt himself ascending through the ceiling, through the roof, into the black-brown sky, while, in reality, drained and empty, he was shaking hands with Martha, with Dreyer. He dropped back on his feet out of that dark nonexistence, from those unknown and rather silly heights, to land firmly in the middle of the room (safe, safe!) when hearty Dreyer described a circle with his index finger and jabbed him in the navel; Franz mimicked a gasp and giggled; and as usual Martha was coldly radiant. His fear did not pass but only subsided temporarily: one incautious glance, one eloquent smile, and all would be revealed, and a disaster beyond imagination would shatter his career. Thereafter whenever he entered this house, he imagined that the disaster had happened—that Martha had been found out, or had confessed everything in a fit of insanity or religious self-immolation to her husband; and the drawing room chandelier invariably met him with a sinister refulgence.

The breathing instruments inspire, Wake into voice each silent string, And sweep the sounding lyre! In a sadly pleasing strain, 2 Let the warbling lute complain: Let the loud trumpet sound, Till the roofs all around The shrill echoes rebound; While in more lengthen'd notes and slow, The deep, majestic, solemn organs blow. Hark! the numbers soft and clear Gently steal upon the

O Lord, do not let us turn into “broken cisterns” that can hold no water… do not let us be so blinded by the enjoyment of the good things of earth that our hearts become insensible to the cry of the poor, of the sick, of orphaned children and of those innumerable brothers and sisters of ours who lack the necessary minimum to eat, to clothe their nakedness, and to gather their family together in one roof.

When a fine old carpet is eaten by mice, the colors and patterns of what's left behind do not change,' wrote my neighbor and friend, the poet Jane Hirschfield, after she visited an old friend suffering from Alzheimer's disease in a nursing home. And so it was with my father. His mind did not melt evenly into undistinguishable lumps, like a dissolving sand castle. It was ravaged selectively, like Tintern Abbey, the Cistercian monastery in northern Wales suppressed in 1531 by King Henry VIII in his split with the Church of Rome. Tintern was turned over to a nobleman, its stained-glass windows smashed, its roof tiles taken up and relaid in village houses. Holy artifacts were sold to passing tourists. Religious statues turned up in nearby gardens. At least one interior wall was dismantled to build a pigsty. I've seen photographs of the remains that inspired Wordsworth: a Gothic skeleton, soaring and roofless, in a green hilly landscape. Grass grows in the transept. The vanished roof lets in light. The delicate stone tracery of its slim, arched quatrefoil windows opens onto green pastures where black-and-white cows graze. Its shape is beautiful, formal, and mysterious. After he developed dementia, my father was no longer useful to anybody. But in the shelter of his broken walls, my mother learned to balance her checkbook, and my heart melted and opened. Never would I wish upon my father the misery of his final years. But he was sacred in his ruin, and I took from it the shards that still sustain me.

That was our first home. Before I felt like an island in an ocean, before Calcutta, before everything that followed. You know it wasn’t a home at first but just a shell. Nothing ostentatious but just a rented two-room affair, an unneeded corridor that ran alongside them, second hand cane furniture, cheap crockery, two leaking faucets, a dysfunctional doorbell, and a flight of stairs that led to, but ended just before the roof (one of the many idiosyncrasies of the house), secured by a sixteen garrison lock, and a balcony into which a mango tree’s branch had strayed. The house was in a building at least a hundred years old and looked out on a street and a tenement block across it. The colony, if you were to call it a colony, had no name. The house itself was seedy, decrepit, as though a safe-keeper of secrets and scandals. It had many entries and exits and it was possible to get lost in it. And in a particularly inspired stroke of whimsy architectural genius, it was almost invisible from the main road like H.G. Wells’ ‘Magic Shop’. As a result, we had great difficulty when we had to explain our address to people back home. It went somewhat like this, ‘... take the second one from the main road….and then right after turning left from Dhakeshwari, you will see a bird shop (unspecific like that, for it had no name either)… walk straight in and take the stairs at the end to go to the first floor, that’s where we dwell… but don’t press the bell, knock… and don't walk too close to the cages unless you want bird-hickeys…’’ ('Left from Dhakeshwari')

Today we are all doing penance every day. We’re working hard, trying to make money to keep a roof over our heads and food on the table, trying to maintain a good relationship or marriage, trying to keep our children safe and happy and educated, trying to keep the world from blowing itself up. We don’t need any more penance. We need some joy, an ideal, encouragement, a philosophy worthy of us, a real community, neighbors to keep us from having to go it alone. We need our own religion: our sources of inspiration, hope, and healing.

The beauty and challenge of long-term relationships is that you change and shift at different times in different directions, side by side under the same roof. Most often, these changes are subtle and you’re subconsciously adapting all the time to the constant but gentle shifting of another human being that you’re so connected to; like two shape-shifters battling to coincide, for better or worse. Remain who you are while they alter, or change with them. Inspire them to go in another direction, gently push, pull, mould, tear at, nurture. Wait.

Is what I am not saying, young LaMont Chu, is why you cease to seem to give total effort of self since you begin with the clipping pictures of great professional figures for your adhesive tape and walls. No? Because, privileged gentlemen and boys I am saying, is always something that is too. Cold. Hot. Wet and dry. Very bright sun and you see the purple dots. Very bright hot and you have no salt. Outside is wind, the insects which like the sweat. Inside is smell of heaters, echo, being jammed in together, tarp is overclose to baseline, not enough of room, bells inside clubs which ring the hour loudly to distract, clunk of machines vomiting sweet cola for coins. Inside roof too low for the lob. Bad lighting, so. Or outside: the bad surface. Oh no look no: crabgrass in cracks along baseline. Who could give the total, with crabgrass. Look here is low net high net. Opponent’s relatives heckle, opponent cheats, linesman in semifinal is impaired or cheats. You hurt. You have the injury. Bad knee and back. Hurt groin area from not stretching as asked. Aches of elbow. Eyelash in eye. The throat is sore. A too pretty girl in audience, watching. Who could play like this? Big crowd overwhelming or too small to inspire. Always something.’ [p.458]

Pumblechook made out, after carefully surveying the premises, that he had first got upon the roof of the forge, and had then got upon the roof of the house, and had then let himself down the kitchen chimney by a rope made of his bedding cut into strips; and as Mr. Pumblechook was very positive and drove his own chaise-cart — over Everybody — it was agreed that it must be so. Mr. Wopsle, indeed, wildly cried out, “No!” with the feeble malice of a tired man; but, as he had no theory, and no coat on, he was unanimously set at naught,— not to mention his smoking hard behind, as he stood with his back to the kitchen fire to draw the damp out: which was not calculated to inspire confidence.

If I could only keep up my spirit- if I could only play the game according to the sportsman's code which Rita had been trying to teach me so gravely and so sweetly- if I could only, I told myself, do that, then in the long run, all might be right between us- because I had not nagged her or wearied her, because I had proved myself her peer, as prompt to offer all for love and as brave to bear its passing. If I could only remember that the days were not bricks to be laid row on row, to be built into a solid house, where one might dwell in safety and peace, but only food for the fires of the heart, the fires which keep the poet alive as the citizen never lives, but which burn all the roofs of security!

She was like no woman he’d ever known. She inspired compassion and fury at the same time, made him want to hold her tenderly even when he thought he might strangle her. How the hell did she do that? Why didn’t she fight him instead of pressing against him, whetting his appetite for her even more with the ripe sweetness of her body? And damn it all to hell, how could a kiss make him want to toss aside the promise he’d made to her father and compromise what honor he had left? Because of this kiss, he was in danger of doing just that-and in danger of making love to Rose with her mother under the same roof. If he did that then he’d know he truly had no honor left. If that wasn’t a proverbial bucket of cold water, he didn’t know what was.

One has to imagine the impact of Paddy on an old count from eastern Europe, barely able to live off his much-diminished lands and keep the roof on a house stocked with paintings and furniture that harked back to better days. His children might take a certain pride in their ancient lineage, but they also made it clear that the world had moved on and they planned to move with it. Then a scruffy young Englishman with a rucksack turns up on the doorstep, recommended by a friend. he is polite, cheerful, and cannot hear enough about the family history. He pores over the books and albums in the library, and asks a thousand questions about the princely rulers, dynastic marriages, wars and revolts and waves of migration that shaped this part of the world. He wants to hear about the family portraits too, and begs the Count to remember the songs the peasants used to sing when he was a child. Instead of feeling like a useless fragment of a broken empire, the Count is transformed. This young Englishman has made him realize that he is part of living history, a link in an unbroken chain going back to Charlemagne and beyond.

In his book, Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: “The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering.” One literal example of this lies in the very existence of San Francisco’s Chinatown. Chinese immigrants in California had battled severe anti-Chinese sentiment in the late 1800s. In 1871, eighteen Chinese immigrants were murdered and lynched in Los Angeles. In 1877, an “anti-Coolie” mob burned and ransacked San Francisco’s Chinatown, and murdered four Chinese men. SF’s Chinatown was dealt its final blow during the 1906 earthquake, when San Francisco fire departments dedicated their resources to wealthier areas and dynamited Chinatown in order to stop the fire’s spread. When it came time to rebuild, a local businessman named Look Tin Eli hired T. Paterson Ross, a Scottish architect who had never been to China, to rebuild the neighborhood. Ross drew inspiration from centuries-old photographs of China and ancient religious motifs. Fancy restaurants were built with elaborate teak furniture and ivory carvings, complete with burlesque shows with beautiful Asian women that were later depicted in the musical Flower Drum Song. The idea was to create an exoticized “Oriental Disneyland” which would draw in tourists, elevating the image of Chinese people in America. It worked. Celebrities like Humphrey Bogart, Lauren Bacall, Ronald Reagan and Bing Crosby started frequenting Chinatown’s restaurants and nightclubs. People went from seeing Chinese people as coolies who stole jobs to fetishizing them as alluring, mysterious foreigners. We paid a price for this safety, though—somewhere along the way, Chinese Americans’ self-identity was colored by this fetishized view. San Francisco’s Chinatown was the only image of China I had growing up. I was surprised to learn, in my early twenties, that roofs in China were not, in fact, covered with thick green tiles and dragons. I felt betrayed—as if I was tricked into forgetting myself. Which is why Do asks his students to collect family histories from their parents, in an effort to remember. His methodology is a clever one. “I encourage them and say, look, if you tell your parents that this is an academic project, you have to do it or you’re going to fail my class—then they’re more likely to cooperate. But simultaneously, also know that there are certain things they won’t talk about. But nevertheless, you can fill in the gaps.” He’ll even teach his students to ask distanced questions such as “How many people were on your boat when you left Vietnam? How many made it?” If there were one hundred and fifty at the beginning of the journey and fifty at the end, students may never fully know the specifics of their parents’ trauma but they can infer shadows of the grief they must hold.

The heart of rock will always remain a primal world of action. The music revives itself over and over again in that form, primitive rockabilly, punk, hard soul and early rap. Integrating the world of thought and reflection with the world of primitive action is *not* a necessary skill for making great rock 'n' roll. Many of the music's most glorious moments feel as though they were birthed in an explosion of raw talent and creative instinct (some of them even were!). But ... if you want to burn bright, hard *and* long, you will need to depend on more than your initial instincts. You will need to develop some craft and a creative intelligence that will lead you *farther* when things get dicey. That's what'll help you make crucial sense and powerful music as time passes, giving you the skills that may also keep you alive, creatively and physically. The failure of so many of rock's artists to outlive their expiration date of a few years, make more than a few great albums and avoid treading water, or worse, I felt was due to the misfit nature of those drawn to the profession. These were strong, addictive personalities, fired by compulsion, narcissism, license, passion and an inbred entitlement, all slammed over a world of fear, hunger and insecurity. That's a Molotov cocktail of confusion that can leave you unable to make, or resistant to making, the lead of consciousness a life in the field demands. After first contact knocks you on your ass, you'd better have a plan, for some preparedness and personal development will be required if you expect to hang around any longer than your fifteen minutes. Now, some guys' five minutes are worth other guys' fifty years, and while burning out in one brilliant supernova will send record sales through the roof, leave you living fast, dying young, leaving a beautiful corpse, there *is* something to be said for living. Personally, I like my gods old, grizzled and *here*. I'll take Dylan; the pirate raiding party of the Stones; the hope-I-get-very-old-before-I-die, present live power of the Who; a fat, still-mesmerizing-until-his-death Brando—they all suit me over the alternative. I would've liked to have seen that last Michael Jackson show, a seventy-year-old Elvis reinventing and relishing in his talents, where Jimi Hendrix might've next taken the electric guitar, Keith Moon, Janis Joplin, Kurt Cobain and all the others whose untimely deaths and lost talents stole something from the music I love, living on, enjoying the blessings of their gifts and their audience's regard. Aging is scary but fascinating, and great talent morphs in strange and often enlightening ways. Plus, to those you've received so much from, so much joy, knowledge and inspiration, you wish life, happiness and peace. These aren't easy to come by.

The lounge of the private terminal in Delhi. A place of beige leather sofas and cappuccinos, set deep in that world where a seeling modernity has yet to close over the land, and where in the empty spaces that lie between the elevated roads and the coloured glass buildings there are still, like insects taking shelter under the veined roof of a leaf, the encampments of families who built them. Black pigs still thread their way through the weeds, there are still patient lorry-loads of labourers, waiting among the dazzle of the new cars, for the lights to change. One India, dwarfed and stunted, adheres like a watchful undergrowth to another India which, in very physical ways, as with the roads that fly up out of the pale land, or the chunks of monorail that rise up from the ground like the remnants of an ancient wall, or the blank closed faces of the glass buildings, wishes to shrug off its poorer opposite: to leave it behind; to shut it out; to soar over it. One man, above all, captures the mood of this time: the security guard. In him, this man of expectation – a man not rich himself, but standing guard at the doorway to a world of riches – it is possible to feel the boredom and restlessness of a world that inspires ambition, but cannot answer it. Skanda watches him watching the lounge, with eyes glazed and yellowing from undernourishment. A favourite phrase from college returns: Quis custodiet ipsos custodes?

Four men arrived carrying a paralyzed man on a mat. They couldn’t bring him to Jesus because of the crowd, so they dug a hole through the roof above his head. Then they lowered the man on his mat, right down in front of Jesus. —Mark 2:3–4

Tree was lonesome, and the adjustment to campus life was not proving to be an easy one for her. She missed the intimacy of her neighborhood back in Columbia, where she knew everyone she passed on the street. She had the typical freshman sensation of being overwhelmed. The lectures were hard to follow, a lot of the terms and subjects were new to her, and she struggled to take notes at the collegiate pace. She tried to keep up as best she could, but it seemed like she was always behind. She studied for two weeks for her first biology test. She was afraid of failing. Semeka Randall, in the next bed, heard Tree weeping. Semeka slid out of bed and padded back to Tamika and Ace’s room—she was about to cry herself. She said, “Tree’s crying and it’s her birthday. We have to do something.” The three of them spent all afternoon planning a surprise. They bought a vanilla cake with white icing; they blew up eighteen balloons and decorated the back bedroom with them; they strung crepe paper, and ordered pizzas. Word got back to me that Tree was having a hard day. In the afternoon, I called the freshmen suite. I sang “Happy Birthday” to Tree, in my voice that was hoarse from yelling at her. That cheered her up some. That evening, Ace, Semeka, and Tamika acted like it was just another night in their dorm room. They talked about going out, and decided against it. Semeka said, “Let’s just eat pizzas.” Tree thought, “There goes my birthday.” When the pizza arrived, Tamika told Tree to stay in the front room. After a minute, they called Tree into the back. She walked into a room darkened except for a flaming birthday cake. It was the final icebreaker. Tree beamed. The three freshmen circled Tree, and began to sing. Semeka started first. But she didn’t sing “Happy Birthday.” She sang their favorite song from the film Waiting to Exhale. As Semeka sang a verse, the others joined in. “Count on Me,” they sang. Tree, touched, started crying again.

Don’t just raise the bar… Raise the roof.

I sought my liberty and the liberty of all, my happiness and the happiness of all. I wanted a roof for every family, bread for every mouth, education for every heart, light for every intellect. I am convinced that human history has not yet begun, that we find ourselves in the last period of the prehistoric. I see with the eyes of my soul how the sky is diffused with the rays of the new millennium.

Waiting patiently doesn't suit you. I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about-the tiny hole through the roof or the bottom of a box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water. And yet, you haven't drawn on those strengths in living your life, have you?

On the other days one is hurrying through the other things one imagines one has to do to keep one’s life going. You get the garden planted. You get the roof fixed. You take the dog to the vet. You spend a day with a friend. . . . You may even enjoy doing such things. . . . But always you are hurrying through these things with a certain amount of aggravation so that you can get at the paintings again because that is the high spot—in a way it is what you do all the other things for. . . . The painting is like a thread that runs through all the reasons for all the other things that make one’s life.

You should keep moving. You should never be a guest forever in any one place. Your welcome will wear out if you stay too long beneath another's roof.

These outcasts, or osu, seeing that the new religion welcomed twins and such abominations, thought that it was possible that they would also be received. And so one Sunday two of them went into the church. There was an immediate stir, but so great was the work the new religion had done among the converts that they did not immediately leave the church when the outcasts came in. Those who found themselves nearest to them merely moved to another seat. It was a miracle. But it only lasted till the end of the service. The whole church raised a protest and was about to drive these people out, when Mr. Kiaga stopped them and began to explain. "Before God," he said, "there is no slave or free. We are all children of God and we must receive these our brothers." "You do not understand," said one of the converts. "What will the heathen say of us when they hear that we receive osu into our midst? They will laugh." "Let them laugh," said Mr. Kiaga. "God will laugh at them on the judgment day. Why do the nations rage and the peoples imagine a vain thing? He that sitteth in the heavens shall laugh. The Lord shall have them in derision." "You do not understand," the convert maintained. "You are our teacher, and you can teach us the things of the new faith. But this is a matter which we know." And he told him what an osu was. He was a person dedicated to a god, a thing set apart--a taboo for ever, and his children after him. He could neither marry nor be married by the free-born. He was in fact an outcast, living in a special area of the village, close to the Great Shrine. Wherever he went he carried with him the mark of his forbidden caste -long, tangled and dirty hair. A razor was taboo to him. An osu could not attend an assembly of the free-born, and they, in turn, could not shelter under his roof. He could not take any of the four titles of the clan, and when he died he was buried by his kind in the Evil Forest. How could such a man be a follower of Christ? "He needs Christ more than you and I," said Mr. Kiaga. "Then I shall go back to the clan," said the convert. And he went. Mr. Kiaga stood firm, and it was his firmness that saved the young church. The wavering converts drew inspiration and confidence from his unshakable faith. He ordered the outcasts to shave off their long, tangled hair. At first they were afraid they might die. "Unless you shave off the mark of your heathen belief I will not admit you into the church," said Mr. Kiaga. "You fear that you will die. Why should that be? How are you different from other men who shave their hair? The same God created you and them. But they have cast you out like lepers. It is against the will of God, who has promised everlasting life to all who believe in His holy name. The heathen say you will die if you do this or that, and you are afraid. They also said I would die if I built my church on this ground. Am I dead? They said I would die if I took care of twins. I am still alive. The heathen speak nothing but falsehood. Only the word of our God is true." The two outcasts shaved off their hair, and soon they were the strongest adherents of the new faith. And what was more, nearly all the osu in Mbanta followed their example.

You must not underemphasize the importance of putting food in you mouth and a roof over your head. Start with the basics.

We work to put a roof over head and food on the table. But do not forget to fulfill your passions as well.

The most important things in life are family, love, friendship, good feelings, a healthy mind, garment for the body, a full belly and a roof over your head. Any man who has these things is richer than the richest man in the world!

Tranquility is the sound of the rain tap dancing on a roof top.

Christmas by Maisie Aletha Smikle Smiles gifts and laughter fill the air Families so dear Gather and share Love and happy cheer Mary gave birth to Christ Jesus Gloriously famed is He People are happy on His birthday They meet to celebrate this day On Christ's birthday There were gifts of myrrh Frankincense and gold Celebrating His birth that was foretold Christmas day is Christ’s birthday Once a year Christ is cheered For coming into the world Woes and foes Are forgotten And joy and peace Are release Lights blink Twinkle twinkle Beckoning good wishes To come in Snow falling on roof tops Cookies cooling on stove tops Smoke whistling from the chimneys Calling out to Santa on his sleigh Don't come down tonight It is frosty as frost bite If you come down the chimney You will be toasty as a toast So on and on Santa goes Round and round the globe Delivering good wishes and happy cheers And thanking God for Christ’s birth

It’s a funny thing. I work like a horse around the trailer court. But when I say I’m taking a hike, they say I shouldn’t because I’m too old. I got up on the roof awhile back and sawed off a tree limb. But no one said anything about that.

The newer tactic of scattering bodies on city streets, as happened when Joaquín Guzmán’s goons pushed thirty-five bloody corpses (twelve of them women) off two trucks on Manuel Ávila Camacho Boulevard, near a shopping mall in the prettier part of the port city of Veracruz one day in September 2011, to terrorize their adversaries... Guzmán, known as El Chapo (Shorty) for his small stature, ran the largest airborne opera- tion in Mexico; he owned more aircraft than Aeromexico, the national air- line. Between 2006 and 2015, Mexican authorities seized 599 aircraft — 586 planes and 13 helicopters—from the Sinaloa cartel; by comparison, Aeromexico had a piddling fleet of 127 planes.... One Zeta atrocity I knew nothing about took place in 2010, in the small town of San Fernando, south of Reynosa. A roaming band of Zetas stopped two buses of migrants—men, women, and children from Central and South America, who were fleeing the violence in their countries. The Zetas demanded money. The migrants had no money. The Zetas demanded that the migrants work for them, as assassins or operatives or drug mules. The migrants refused. So they were taken to a building in the village of El Huizachal, blindfolded, their hands and legs bound, and each one was shot in the head. Seventy-two of them died. One man (from Ecuador) played dead, escaped, and raised the alarm... The gory details of this massacre became known when one of the perpetrators was arrested, Édgar Huerta Montiel, an army deserter known as El Wache, or Fat Ass. He admitted killing eleven of the migrants person- ally, in the belief (so he said) that they were working for a gang hostile to his own. A year later, near the same town, police found 47 mass graves containing 193 corpses — mostly migrants or passengers in buses hijacked and robbed while passing through this area of Tamaulipas state, about eighty miles south of the US border... But in the early 2000s headless bodies began to appear, tossed by the roadside, while human heads were displayed in public, at intersections, and randomly on the roofs of cars. This butchery was believed to be inspired by a tactic of the Guatemalan military’s elite commandos, known as Kaibiles. A man I was to meet in Matamoros, on my traverse of the border, explained how the Kaibiles were toughened by their officers. The officers encouraged recruits to raise a dog from a puppy, then, at a certain point in their training, the recruit was ordered to kill the dog and eat it.... When the Kaibiles became mercenaries in the Mexican cartels, the first beheadings occurred, the earliest known taking place in 2006: a gang in Michoacán kicked open the doors of a bar and tossed five human heads on the dance floor. Decapitations are now, according to one authority on the business, “a staple in the lexicon of violence” for Mexican cartels....

I think I'm beginning to understand that the quest is the point. Our sense of enchantment is not triggered only by grand things; the sublime is not hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it. It becomes meaningful when we invest it with meaning. The magic is of our own conjuring. Hierophany - that revelation of the sacred - is something that we bring to everyday things, rather than something that is given to us. That quality of experience that reveals to us the workings of the world, that comforts and fascinates us, that ushers us towards a greater understanding of the business of being human: it is not in itself rare. What is rare is our will to pursue it. If we wait passively to become enchanted, we could wait a long time. But seeking is a kind of work. I don't mean heading off on wild road trips just to see the stars that are shining above your own roof. I mean committing to a lifetime of engagement: to noticing the world around you, to actively looking for small distillations of beauty, to making time to contemplate and reflect. To learning the names of the plants and places that surround you, or training your mind in the rich pathways of the metaphorical. To finding a way to express your interconnectedness with the rest of humanity.

I think I'm beginning to understand that the quest is the point. Our sense of enchantment is not triggered only by grand things; the sublime is not hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it. It becomes meaningful when we invest it with meaning. The magic is of our own conjuring. Hierophany--that revelation of the sacred--is something that we bring to everyday things, rather than something that is given to us. That quality of experience that reveals to us the workings of the world, that comforts and fascinates us, that ushers us towards a greater understanding of the business of being human: it is not in itself rare. What is rare is our will to pursue it. If we wait passively to become enchanted, we could wait a long time. But seeking is a kind of work. I don't mean heading off on wild road trips just to see the stars that are shining above your own roof. I mean committing to a lifetime of engagement: to noticing the world around you, to actively looking for small distillations of beauty, to making time to contemplate and reflect. To learning the names of the plants and places that surround you, or training your mind in the rich pathways of the metaphorical. To finding a way to express your interconnectedness with the rest of humanity. To putting your feet on the ground, every now and then, and feeling the tingle of life that the earth offers in return. It's all there, waiting for our attention. Take off your shoes, because you are always on holy ground.

The worst thing I can tell you is to be a man. Be a man means man up, act tough, take it like a man, have no emotions, make sure to lead, dominant, never submit, be strong, suck it up and don't you dare cry because it's a sign of weakness. When in truth, it takes courage to cry; faking a smile is easy. I tell my man to cry, and I will cry with him; laugh, and I will laugh with him; yell, and I will yell on top of the roof with him, we will rebuild even if we lose everything. He knows not to "be a man" around me other than himself.

In any case, the expression ‘real life’ in this context seems to fall short of academic standards. The notion that motor-cars are more ‘alive’ than, say, centaurs or dragons is curious; that they are more ‘real’ than, say, horses is pathetically absurd. How real, how startingly alive is a factory chimney compared with an elm tree: poor obsolete thing, insubstantial dream of an escapist! For my part, I cannot convince myself that the roof of Bletchley station is more ‘real’ than the clouds. And as an artefact I find it less inspiring than the legendary dome of heaven. The bridge to platform 4 is to me less interesting than Bifröst guarded by Heimdall with the Gjallarhorn. From the wildness of my heart I cannot exclude the question whether railway-engineers, if they had been brought up on more fantasy, might not have done better with all their abundant means than they commonly do.

In the tin-covered porch Mr Chawla had constructed at the rear of the house she had set up her outdoor kitchen, spilling over into a grassy patch of ground. Here rows of pickle jars matured in the sun like an army balanced upon the stone wall; roots lay, tortured and contorted, upon a cot as they dried; and tiny wild fruit, scorned by all but the birds, lay cut open, displaying purple-stained hearts. Ginger was buried underground so as to keep it fresh; lemon and pumpkin dried on the roof; all manner of things fermented in tightly sealed tins; chilli peppers and curry leaves hung from the branches of a tree, and so did buffalo curd, dripping from a cloth on its way to becoming paneer. Newly strong with muscles, wiry and tough despite her slenderness, Kulfi sliced and pounded, ground and smashed, cut and chopped in a chaos of ingredients and dishes. ‘Cumin, quail, mustard seeds, pomelo rind,’ she muttered as she cooked. ‘Fennel, coriander, sour mango. Pandanus flour, lichen and perfumed kewra. Colocassia leaves, custard apple, winter melon, bitter gourd. Khas root, sandalwood, ash gourd, fenugreek greens. Snake-gourd, banana flowers, spider leaf, lotus root …’ She was producing meals so intricate, they were cooked sometimes with a hundred ingredients, balanced precariously within a complicated and delicate mesh of spices – marvellous triumphs of the complex and delicate art of seasoning. A single grain of one thing, a bud of another, a moist fingertip dipped lightly into a small vial and then into the bubbling pot; a thimble full, a matchbox full, a coconut shell full of dark crimson and deep violet, of dusty yellow spice, the entire concoction simmered sometimes for a day or two on coals that emitted only a glimmer of faint heat or that roared like a furnace as she fanned them with a palm leaf. The meats were beaten to silk, so spiced and fragrant they clouded the senses; the sauces were full of strange hints and dark undercurrents, leaving you on firm ground one moment, dragging you under the next. There were dishes with an aftertaste that exploded upon you and left you gasping a whole half-hour after you’d eaten them. Some that were delicate, with a haunting flavour that teased like the memory of something you’d once known but could no longer put your finger on. Pickled limes stuffed with cardamom and cumin, crepuscular creatures simmered upon the wood of a scented tree, small river fish baked in green coconuts, rice steamed with nasturtium flowers in the pale hollow of a bamboo stem, mushrooms red – and yellow-gilled, polka-dotted and striped. Desire filled Sampath as he waited for his meals. Spice-laden clouds billowed forth and the clashing cymbals of pots and pans declared the glory of the meal to come, scaring the birds from the trees about him.

But the Scottish patron on tour took home with him from Italy much more than his cargo of paintings, sculptures and antique marbles, the tangible souvenirs of his excursion to the south. He took home as well a sophistication of taste and an appreciation of the virtues of classicism which only contact with the Mediterranean inheritance could impart. Only sixty years before the building of the pedimented façade of Duff House in Banff, with its urns and roof-line statuary more in keeping with a southern sky, the typical laird's house in Scotland was still inspired by an economy of display and a strength of fabric deriving from less settled times. The 18th century saw the transportation to Scotland of the idea of the Italian palace, and Hopetoun or Floors or Chatelherault owe their existence to this inspiration.

Success isn't defined by a luxurious career or a large bank balance. It's defined by what you bring to the table. A man working as a cleaner putting food on the table and a roof over his family's head is just as successful as a man working in management providing for himself. Your a successful person as long as you DO SOMETHING.

Namesake marriages exist as a hollow shell, a union of convenience rather than a bond of love. Two individuals living separate lives under the same roof, merely playing the part of partners but lacking the warmth and connection that comes from truly sharing a life together. Like two strangers under the same umbrella, they stay dry but never truly connect, living single lives in a marriage that lacks love's spark.

Namesake marriages exist as a hollow shell, a union of convenience rather than a bond of love. Two individuals living separate lives under the same roof, merely playing the part of partners but lacking the warmth and connection that comes from truly sharing a life together. Like two strangers under the same umbrella, they stay dry but never truly connect, living single lives in a marriage that lacks love's spark.

Doubts, sure I have them, but they won't feed you or put a roof over your head.

[Hurricane] Andrew tore trees apart; drove their shrieking limbs past our walls. All around us, it shoved huge deciduous behemoths flat to the earth, or tore them out by the roots. "I have never been able to say “No” to wonder. Wherever God stood naked, I wanted to crawl into the middle and gawk. Plus, I’d already lost everything I had built or wanted to live for when we’d left San Diego, and my marriage had become a long, aching death. I had nothing left. I had to touch God again at all costs.... "... I ripped open the door, then had to shove my full weight into closing it behind me. Slamming and bucking against harsh unseen walls, waging war for every step, I crushed both hands into the railing, fought my way downstairs, past a pool already choked with roofing and with life torn apart. I bucked and strained my way out onto the street, deeper into the dark, vile heart of a hurricane. Gnashing hard into the storm, I leaned into winds that pummeled and slammed me about like a machete. "Inching and lunging across the intersection, where all but one streetlight had crashed to the pavement, I crushed my way through as that last light sparked and whipped overhead. Winds like that can drive a grain of rice through a concrete wall, so I wrenched a stop sign out of a tree and held it before me as a shield, slamming my way backward through an intersection of shattered glass and metal, out onto a golf course, where I screeched Hallelujahs no one could hear. "In that open field, that raging, shrieking fury slammed and wrenched the sign into my chest. For the first time in a long time, "I thanked God and prayed for survival. "I fought my way back home. The sign heaved at my face, sliced my hands open, and blasted away into the night. "There was no one left there but me, God, and His mighty, undeniable power." - From "Entertaining Naked People

The Oracles are dumb;       No voice or hideous hum     Runs through the archèd roof in words deceiving.       Apollo from his shrine       Can no more divine,     Will hollow shriek the steep of Delphos leaving.   No nightly trance, or breathèd spell,   Inspires the pale-eyed Priest from the prophetic cell.

The Temple of Righteousness is built and its four walls are the four Principles— Purity, Wisdom, Compassion, Love. Peace is its roof; its floor Steadfastness, its entrance-door is Selfless Duty, its atmosphere is Inspiration, and its music is the Joy of the perfect.

My dear friend, a good attitude will determine your altitude. When you look at your life, career, job or family life, what do you say? Do you praise God? Do you blame the devil? A good attitude towards God makes Him move on your behalf. Just sit down and say, Today God, it is well with my soul, I am thankful I had a peaceful sleep, I am thankful I am alive with possibilities, I am thankful I have a roof over me, I am thankful I have a job, I am thankful that I have Family and Friends. Above all, I am thankful that I have the Lord Jesus Christ on my side. Be blessed and don't be envious or shocked when others are prospering because you don't know what they have been through to get there (test, trials and tribulation) so thank God for what you have. "Little is much when God is in it. It Is Well With My Soul! Touch someone’s life with this message. If God be for us,who can be against us?

I like to think of the various results of the profile tools and tests we appeal to in an effort to learn about ourselves as the egoic spaces we inhabit. One way to illustrate this is to view our temperament (often categorized as one of sixteen combinations of basic preferences that can be determined through the MBTI® inventory—a typology developed by Isabel Briggs Myers and her mother Katharine Briggs based on Carl Jung’s typology theory) as the specific room we stay in; our StrengthsFinder® results (based on Gallup University’s list of thirty-four talent themes, a weighted list of innate strengths that carry potential to increase a person’s performance success) as the way we decorate our room; but our Enneagram type as the kind of home we build (maybe some of us live in a hip urban condo, others prefer a gable-roofed Thai-inspired house, while others are happy to call home a one-story ranch). Our Enneagram type is the home we are likely born in and will most definitely die in.

Here’s what I would say is the issue he is trying to address. Often in churches, we try to get people to affirm the right beliefs, the right points of view. The real test of what I actually believe is “Does it guide what I do?” For example, if I am up on a skyscraper, I would never step off, because I believe in gravity. I don’t have to force myself to believe in gravity. I don’t have to hype myself. I just believe in gravity. So I won’t step off that roof unless I am trying to hurt myself. My actions are always a result of my intentions and my perceptions of how things are. Sometimes in churches we work to get people to affirm stuff, even though they don’t believe in it like they believe in gravity. So somebody will say, “I believe that the Bible is the inspired, authoritative Word of God.” But the Bible says it is more blessed to give than to receive, yet they are not giving. So, do they really believe that the Bible is the authoritative, inspired Word of God? Well, at one level, they think they do, but the most important level of belief is their mental map of reality. What are those perceptions that actually guide how we live, what we do? Because that is simply how reality looks to us. What we want to do is not simply teach doctrine and get people to affirm it. We want to help people have the same mental map that Jesus had of how things are.

I never doubted I would have a roof over my head, a school to go to, enough to to eat, books (and newspapers) to read, a safe neighborhood to play in and a doctor to see if I got sick. My parents and grandparents made sure I knew I was lucky.

Don't just raise the bar. Raise the roof.

From my body, take earth and sprinkle on barren lands From my body, take water and bestrew the desert with streams From my body, take the sky and build roofs for the homeless From my body, take air and purify the breath of factories From my body, take fire, your heart is frightfully cold - Geet Chaturvedi Translated by Anita Gopalan

The Problem The problem I have, my friends, is too complicated. It is not only that I no longer have a home, Or a roof over my head. It is that I no longer wish to have one. I confess to you; however, that Even if I wished to have a place to call home, My wish would be impossible to realize, Because I have been erased from everywhere. Yes, the mercenaries And those who worship the dollar notes, Under the names of religions and ideologies, Have erased me from history. They have revised and rewrote my story. Everywhere I go, I find them lurking and waiting for me, To blockade me, To suffocate me, And to steal from my mouth The few crumbs of bread I have left. And so, I repeat, my friends, My problem is too complicated. I don’t have a home, I no longer want a home, And I couldn’t have a home to shelter me, Even if so I wished in my wild dreams. June 1, 2017

There are two postures in Zazen—that is to say, the crossed-leg sitting, and the half crossed-leg sitting. Seat yourself on a thick cushion, putting it right under your haunch. Keep your body so erect that the tip of the nose and the navel are in one perpendicular line, and both ears and shoulders are in the same plane. Then place the right foot upon the left thigh, the left foot on the right thigh, so as the legs come across each other. Next put your right hand with the palm upward on the left foot, and your left hand on the right palm with the tops of both the thumbs touching each other. This is the posture called the crossed-leg sitting. You may simply place the left foot upon the right thigh, the position of the hands being the same as in the cross-legged sitting. This posture is named the half crossed-leg sitting.' 'Do not shut your eyes, keep them always open during whole Meditation. Do not breathe through the mouth; press your tongue against the roof of the mouth, putting the upper lips and teeth together with the lower. Swell your abdomen so as to hold the breath in the belly; breathe rhythmically through the nose, keeping a measured time for inspiration and expiration. Count for some time either the inspiring or the expiring breaths from one to ten, then beginning with one again. Concentrate your attention on your breaths going in and out as if you are the sentinel standing at the gate of the nostrils. If you do some mistake in counting, or be forgetful of the breath, it is evident that your mind is distracted.' Chwang Tsz seems to have noticed that the harmony of breathing is typical of the harmony of mind, since he says: "The true men of old did not dream when they slept. Their breathing came deep and silently. The breathing of true men comes (even) from his heels, while men generally breathe (only) from their throats."[FN#245] At any rate, the counting of breaths is an expedient for calming down of mind, and elaborate rules are given in the Zen Sutra,[FN#246] but Chinese and Japanese Zen masters do not lay so much stress on this point as Indian teachers. [FN#245]

You can reach the roof of your house by stone stairs, by wooden stairs, by bamboo steps or by a rope. Likewise, there are diverse ways of experiencing the Absolute Divinity – the Ultimate Oneness. In fact, in that blissful state of oneness, you and God are one and the same thing.

What kind of relationship, you may wonder, can these two siblings have, being so many years and worlds apart? It’s just past 7:00 pm. Football practice ended half an hour ago, and David and his brother Michael walk through the door with hearty appetites and mountains of homework. I hear the door creak and the thump of equipment hitting the floor. Next I hear David’s husky voice cooing, “Come on, baby” to his little sister, whom he has rescued from the swing in the front room. I peek around the corner just in time to see her respond by grabbing his face and wiggling towards him. “Shh… shh… shh…” he says, as he cradles her in his arms and bounces her gently back and forth, holding her securely against his chest. Back and forth, back and forth—they are engaged in a dance, two unlikely companions frozen in a single moment. For a short time they will be under the same roof, in the same world. Then suddenly, their lives will diverge into strikingly separate paths—hers of blocks and ABCs and babyhood, his of college term papers, interviews, and adulthood. But for now, they are in the same plane. She is learning from his strong arms to trust. He is learning from her vulnerability to give. He is a father of tomorrow, in an internship of sorts, learning gentleness and devotion from this little bundle called Sister.

Rather, I’m the kind of person who makes watercolors of sunsets in the summer while drinking cocktails on my roof, who reads a book a week and goes to French movies. My friends often cite my life as being an inspiration to them, and I have quite rigorously assembled something that looks really good from the outside. But that performance has always been a stark contrast to how I feel about myself.

as the specific room we stay in; our StrengthsFinder® results (based on Gallup University’s list of thirty-four talent themes, a weighted list of innate strengths that carry potential to increase a person’s performance success) as the way we decorate our room; but our Enneagram type as the kind of home we build (maybe some of us live in a hip urban condo, others prefer a gable-roofed Thai-inspired house, while others are happy to call home a one-story ranch). Our Enneagram type is the home we are likely born in and will most definitely die in. But let’s not get too fatalistic about the Enneagram. It’s not static like most popular profile systems; rather, it’s dynamic and constantly in motion, just like our personal patterns of progress and regress.

December was that,the cold winds blowing against the city,the damp clouds made irregular shapes around every hour of suspense.The terrifying snowfalls did swallow the entire Florence.The Sun light beams are kissing the snow fallen roofs, and they made a glittering effect upon the Earth’s surface.

You've go to get on with it, my boy. Stop feeling sorry for yourselft, because what's done is done. You can't change it, so you've got to stiffen your backbone. You've a good job, a very nice roof over your head, and you're well off--so be thankful and instead look around you and see what you can do for people who don't have the same good luck.