Roofing Tiles Quotes

In all the ills that befall us, we are more concerned by the intention than the result. A tile that falls off a roof may injure us more seriously, but it will not wound us so deeply as a stone thrown deliberately by a malevolent hand. The blow may miss, but the intention always strikes home.

Dublin is extraordinarily beautiful to her in wet weather, the way gray stone darkens to black, and rain moves over the grass and whispers on slick roof tiles. Raincoats glistening in the undersea color of street lamps. Rain silver as loose change in the glare of traffic.

But I can’t leave, not yet. I’ll stay with her until sunrise. If I brace my feet, I won’t slide. I can rest my cheek on the roof tile and still see her. Pacing. Pulling her hair. “I’ll fix you,” I tell her. “I promise.” Even though I don’t know how. It’s better than good-bye.

So I stood up and did a handstand on my Guru's roof, to celebrate the notion of liberation. I felt the dusty tiles under my hands. I felt my own strength and balance. I felt the easy night breeze on the palms of my bare feet. This kind of thing -- a spontaneous handstand--isn't something a disembodied cool blue soul can do, but a human being can do it. We have hands; we can stand on them if we want to. That's our privilege. That's the joy of a mortal body. And that's why God needs us. Because God loves to feel things through our hands.

Over everything—up through the wreckage of the city, in gutters, along the riverbanks, tangled among tiles and tin roofing, climbing on charred tree trunks—was a blanket of fresh, vivid, lush, optimistic green; the verdancy rose even from the foundations of ruined houses. Weeds already hid the ashes, and wild flowers were in bloom among the city’s bones. The bomb had not only left the underground organs of the plants intact; it had stimulated them.

One day we took the children to see a goldsmith refine gold after the ancient manner of the East. He was sitting beside his little charcoal fire. ("He shall sit as a refiner"; the gold- or silversmith never leaves his crucible once it is on the fire.) In the red glow lay a common curved roof tile; another tile covered it like a lid. This was the crucible. In it was the medicine made of salt, tamarind fruit and burnt brick dust, and imbedded in it was the gold. The medicine does its appointed work on the gold, "then the fire eats it," and the goldsmith lifts the gold out with a pair of tongs, lets it cool, rubs it between his fingers, and if not satisfied puts it back again in fresh medicine. This time he blows the fire hotter than it was before, and each time he puts the gold into the crucible, the heat of the fire is increased; "it could not bear it so hot at first, but it can bear it now; what would have destroyed it then helps it now." "How do you know when the gold is purified?" we asked him, and he answered, "When I can see my face in it [the liquid gold in the crucible] then it is pure.

And though there were no children playing, no doves, no blue-shadowed roof tiles, I felt that the town was alive. And that if I heard only silence, it was because I was not accustomed to silence - maybe because my head was still filled with sounds and voices.

Jem stood up and held out his hand to Will. Without realizing it, he held his breath. Perhaps this was a dream after all, and when Jem touched him Will would vanish away again. But Will’s hand was warm and solid and strong, and Jem drew him up easily. Together they began to run lightly over the tiles of the roof. The night was very beautiful and warm, and they were both young.

Everything about her in that moment was soft, and that was one of his favorite memories later on--her tense grace made tender by the dimness, her eyes and hands and especially her lips, infinitely soft. He kissed her again and again, and each kiss was nearer to the last one of all. Heavy and soft with love, they walked back to the gate. Mary and Serafina were waiting. "Lyra--" Will said. And she said, "Will." He cut a window into Cittàgazze. They were deep in the parkland around the great house, not far from the edge of the forest. He stepped through for the last time and looked down over the silent city, the tiled roofs gleaming in the moonlight, the tower above them, the lighted ship waiting out on the still sea. He turned to Serafina and said as steadily as he could, "Thank you, Serafina Pekkala, for rescuing us at the belvedere, and for everything else. Please be kind to Lyra for as long as she lives. I love her more than anyone has ever been loved.

STARS AND DANDELIONS Deep in the blue sky, like pebbles at the bottom of the sea, lie the stars unseen in daylight until night comes. You can't see them, but they are there. Unseen things are still there. The withered, seedless dandelions hidden in the cracks of the roof tile wait silently for spring, their strong roots unseen. You can't see them, but they are there. Unseen things are still there.

Opened the door, and stepped into a mermaid’s grotto, into a drowned girl’s sanctuary. The walls were tiled in glittering blue and silver, like scales, arching together to form the high, pointed dome of the roof. It was a flower frozen in the moment before it could open; it was a teardrop turned to crystal before it could fall. Little nooks were set into the walls, filled with candles, which cast a dancing light over everything they touched.

Most tourists mistranslated Jardins des Tuileries as relating to the thousands of tulips that bloomed here, but Tuileries was actually a literal reference to something far less romantic. This park had once been an enormous, polluted excavation pit from which Parisian contractors mined clay to manufacture the city’s famous red roofing tiles—or tuiles.

The sunrise flickers against the sky in shades of gore as the night is eaten away, scavenged clean by the circling rooks. The light is painful against window and roof-tile, for if there was any scrap of mercy in this old cold earth, the sun would not have risen again.

The buildings, covered by red tiled roofs, undulate over the hillsides like a drift of wildflowers.

That which interest me above all else,' he wrote,'is the caligraphy of a tree or the tiles of a roof, and I mean leaf by leaf, branch by branch, blade by blade of the grass.

In a burst of movement I’m up the crates, scaling the wall, and rolling onto the tiles of the roof next to me, a handful of stories in the air.

...the guy might be a cold-blooded amoral sadistic killer and a cartload of tiles short of a watertight roof, but there was nothing wrong with his intelligence. [Caligula in Marcus Corvinus's eyes]

The house remembered her. Laurel did not consider herself a romantic, but the sense was so strong that for a moment she had no trouble believing that the combination before her of wooden boards and red chimney bricks, or dappled roof tiles and gabled windows at odd angles, was capable of remembrance.

A large mango tree shaded the eastern corner of the house from the sharp morning sun, its long, leafy branches swaying over the old, red, clay-tiled roof. The smell of wood and camphor hung in the air.

There was no Disney World then, just rows of orange trees. Millions of them. Stretching for miles And somewhere near the middle was the Citrus Tower, which the tourists climbed to see even more orange trees. Every month an eighty-year-old couple became lost in the groves, driving up and down identical rows for days until they were spotted by helicopter or another tourist on top of the Citrus Tower. They had lived on nothing but oranges and come out of the trees drilled on vitamin C and checked into the honeymoon suite at the nearest bed-and-breakfast. "The Miami Seaquarium put in a monorail and rockets started going off at Cape Canaveral, making us feel like we were on the frontier of the future. Disney bought up everything north of Lake Okeechobee, preparing to shove the future down our throats sideways. "Things evolved rapidly! Missile silos in Cuba. Bales on the beach. Alligators are almost extinct and then they aren't. Juntas hanging shingles in Boca Raton. Richard Nixon and Bebe Rebozo skinny-dipping off Key Biscayne. We atone for atrocities against the INdians by playing Bingo. Shark fetuses in formaldehyde jars, roadside gecko farms, tourists waddling around waffle houses like flocks of flightless birds. And before we know it, we have The New Florida, underplanned, overbuilt and ripe for a killer hurricane that'll knock that giant geodesic dome at Epcot down the trunpike like a golf ball, a solid one-wood by Buckminster Fuller. "I am the native and this is my home. Faded pastels, and Spanish tiles constantly slipping off roofs, shattering on the sidewalk. Dogs with mange and skateboard punks with mange roaming through yards, knocking over garbage cans. Lunatics wandering the streets at night, talking about spaceships. Bail bondsmen wake me up at three A.M. looking for the last tenant. Next door, a mail-order bride is clubbed by a smelly ma in a mechanic's shirt. Cats violently mate under my windows and rats break-dance in the drop ceiling. And I'm lying in bed with a broken air conditioner, sweating and sipping lemonade through a straw. And I'm thinking, geez, this used to be a great state. "You wanna come to Florida? You get a discount on theme-park tickets and find out you just bough a time share. Or maybe you end up at Cape Canaveral, sitting in a field for a week as a space shuttle launch is canceled six times. And suddenly vacation is over, you have to catch a plane, and you see the shuttle take off on TV at the airport. But you keep coming back, year after year, and one day you find you're eighty years old driving through an orange grove.

The steep tiled roof had grown dark and mossy with age and rain. The triangular wooden frames fitted into the gables were intricately carved, the light that slanted through them and fell in patterns on the floor was full of secrets. Wolves. Flowers. Iguanas. Changing shape as the sun moved through the sky. Dying punctually at Dusk.

Standing on the bridge, looking across at that empty city, everything in the compass of my gaze had been set there by a human hand. Somehow those pylons had been strung with wire, and those towers raised, and roofs tiled. There had been food and drink for millions of mouths. I don't cry easy, but my vision blurred as I stared on the ruins of what we had been, and I watched the small band of men in rags move toward it to pick at it like birds on the carcass of some giant.

Never had my home seemed more beautiful than in this moment when I was pressing each curve, each stone into my mind. The thousand lanterns illuminated the soil, the silver roof tiles reflected the stars. And on the balcony where I had stared at the world below, there stood a slender figure in white.

He no sooner saw the woman than he saw the aftermath of her - his marriage proposal and her acceptance, the home they would set up together, the drawn rich silk curtains leaking purple light, the bed sheets billowing like clouds, the wisp of aromatic smoke winding from the chimney - only for every wrack of it - its lattice of crimson roof tiles, its gables and dormer windows, his happiness, his future - to come crashing down on him in the moment of her walking past.

Glazed brick, white mortar, and blue roof-tiles do not make a house beautiful; carved rosewood, gold cloth, and clear green jade do not furnish a house with grace; a man of cultivated mind makes a house of mud and wattle beautiful; a woman, even with a pock-marked face; if refined of heart, fills a house with grace. -House of Exile

my bonny love, our roof is safe above, our roof is finely tiled, God protect my little child.

Nick was sitting on the slant of the pebble-smooth gray roof tiles with clouds wrapped around his wrists like pale ropes.

she could see her house: a cozy Spanish-style place with a red tile roof, white stucco walls, mullioned windows,

The shingles (wooden tiles) are slipping from the roofs, which are covered in lichen and moss or streaked with birdlime.

The gasoline at the two pumps is an overpriced brand he’s never heard of, and the building housing the store is fissured pale-yellow stucco with a blue ceramic-tile roof.

Below us stretched a landscape only slightly more hospitable than Mars. (I mean the planet, not the god, though I suppose neither is much of a host.) Sun-blasted ochre mountains ringed a valley patchworked with unnaturally green golf courses, dusty barren flats and sprawling neighbourhoods of white stucco walls, red-tiled roofs and blue swimming pools. Lining the streets, rows of listless palm trees stuck up like raggedy seams. Asphalt parking lots shimmered in the heat. A brown haze hung in the air, filling the valley like watery gravy. ‘Palm Springs,

Jem stood up and held out his hand to Will. Without realizing it, he held his breath. Perhaps this was a dream after all, and when Jem touched him Will would vanish away again. But Will's hand was warm and solid and strong, and Jem drew him up easily. Together they began to run lightly over the tiles of the roof. The night was very beautiful and warm, and they were both young.

It was now autumn, and I made up my mind to make, before winter set in, an excursion across Normandy, a country with which I was not acquainted. It must be borne in mind that I began with Rouen, and for a week I wandered about enthusiastic with admiration, in that picturesque town of the Middle Ages, in that veritable museum of extraordinary Gothic monuments. Well, one afternoon, somewhere about four o'clock, as I happened to be passing down an out-of-the-way by-street, in the middle of which flowed a deep river, black as ink, named the Eau de Robec, my attention wholly directed to examining the bizarre and antique physiognomy of the houses, was all of a sudden attracted by the sight of a series of shops of furniture brokers, one after the other, from door to door along the street. Ah! these second-hand brokers had well chosen their locality, these sordid old traffickers of bric-a-brac, in this fantastic alley leading up from stream of that sinister dark water, under the steep pointed overhanging gables of tiled roofs and projecting shingle eaves, where the weathercocks of the past still creaked overhead. ("Who Knows?")

So many kinds of people exist hundreds of plans for profit and fame hearts intent on glory always trying to get rich minds that never rest rushing about like smoke dependents gather around one yell and a hundred heads nod but less than seventy years from now ice becomes water and roof tiles break dead at last all cares cease who will be their heir drop a ball of mud in water and behold the thoughtless mind

Meanwhile the colonel followed the mad woman, and by a strange effect of the superexcitation of his senses, saw her in the darkness, through the mist, as plainly as in broad daylight; he heard her sighs, her confused words, in spite of the continual moan of the autumn winds rushing through the deserted streets. A few late townspeople, the collars of their coats raised to the level of their ears, their hands in their pockets, and their hats pressed down over their eyes, passed, at infrequent intervals, along the pavements; doors were heard to shut with a crash. An ill-fastened shutter banged against a wall, a tile torn from a housetop by the wind fell into the street; then, again, the immense torrent of air whirled on its course, drowning with its lugubrious voice all other sounds of the night. It was one of those cold nights at the end of October, when the weathercocks, shaken by the north wind, turn giddily on the high roofs, and cry with shrilly voices, 'Winter! - Winter! - Winter is come!' ("The Child Stealer")

The sun rose in the new Republic just as he was locked in his third-story cell. The window was not so high, and he could see the tiled roofs and bare-branched trees shimmering in the orange light, and the birds singing and gliding across the sky. This, the everlasting stillness of morning, brought him unbearable joy and sorrow. Tears flowed down his cheeks raked by time. Death was such a small price to pay for life.

before the love of my life decided he didn’t want to live anymore, he told me the stars belonged to us. We spent every night together, our bodies softly intertwined on harsh roof tiles, memorizing the patterns in the sky. So even as he withered, as his body became less body and more corpse, I believed our stars would give him faith. I believed they would keep him alive so long as he could look up and see they hadn’t fallen.

the most careful individual is not absolutely exempt from the danger of a tile falling suddenly upon his head from his neighbour's roof. Such a tile was about to descend upon the elegant and decorous public now assembled to hear the music.

I think we’re safe,’ said Damen. ‘Somehow, no one saw us.’ ‘But I told you. It’s the game I like,’ said Laurent, and with the toe of his boot he deliberately pushed a loose roof tile until it slid off the rooftop and shattered in the street below.

Thus it happened that a crowd of Christian zealots, led by one Peter the Lector, blocked the homeward path of the carriage in which Hypatia was riding, dragged her from it, and (as if to seek divine sanction for their act) hauled the hapless woman into a church where they stripped her naked and battered her to death with roofing tiles. This done, they continued their frenzy by tearing her corpse limb from limb, orgiastically transporting her body out through the church portals and burning its fragments.

still called it “the Riddle House,” even though it had been many years since the Riddle family had lived there. It stood on a hill overlooking the village, some of its windows boarded, tiles missing from its roof, and ivy spreading unchecked over its face.

The Silver Samarsanda stood above the Jardeen, behind a line of tall pencil cypress: an irregular bulk of masonry, plastered and whitewashed, with a wide, many-slanted roof of mossy tiles. Beside the entrance five colored lanterns hung in a vertical line: deep green, a dark, smoky scarlet, a gay light green, violet, and once more dark scarlet; and at the bottom, slightly to the side, a small, steady yellow lamp, the purport of all being: Never neglect the wonder of conscious existence, which too soon comes to an end!

Weatherborne folk-memories whistle down chimneys, fell fences, tear tiles from roofs, and bang at back doors. The wild is out there, just outside. We know, just as all of our ancestors knew, the power and the might of nature beyond the confines of our man-made world.

landowner of those parts. An archway to one side leads to a church, the Madonna del Carmine—Our Lady of Mount Carmine. Narrow stone steps run up the hillside, flanked by closely clustered two-story stone houses with red-tile roofs. For centuries, the paesani of Roseto

The church tower, firm in line, soaring unfalteringly to its tapering point, topped with red tiles and broad in the roof, an earthly building – what else can men build? – but with a loftier goal than the humble dwelling-houses and a clearer meaning than the muddle of everyday life.

His eye was caught by the iridescent back of a beetle that had been standing on the windowsill but that was now advancing steadily into his room. Two reddish purple stripes ran the length of its brilliant oval shell of green and gold. ...In the midst of time's dissolving whirlpool, how absurd that this tiny dot of richly concentrated brilliance should endure in a secure world of its own. ...At that moment, he almost persuaded himself that all its surroundings--leafy trees, blue sky, clouds, tiled roofs--were there purely to serve this beetle which in itself was the very hub, the very nucleus of the universe.

If the walls were cracking, I'd plastered the surface back to smoothness. If the floor tiles were crumbling, I'd replaced them. If the roof was leaking, I'd patched the leaks. I'd pretended that, because the “house” still appeared okay, all was okay. Nothing had changed; all had been fixed. Nothing else needed to change.

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.

Düsseldorf also looked mournful. Fresh ruins and red roof tiles bore witness to the firestorm. This too is one of the stepping-stones of Americanism; in place of our old haunts, we shall have cities that are the brain children of engineers. But perhaps only herds of sheep will graze upon the ruins, as in those old pictures of the Roman Forum.

There was once a stone cutter who was dissatisfied with himself and with his position in life. One day he passed a wealthy merchant's house. Through the open gateway, he saw many fine possessions and important visitors. "How powerful that merchant must be!" thought the stone cutter. He became very envious and wished that he could be like the merchant. To his great surprise, he suddenly became the merchant, enjoying more luxuries and power than he had ever imagined, but envied and detested by those less wealthy than himself. Soon a high official passed by, carried in a sedan chair, accompanied by attendants and escorted by soldiers beating gongs. Everyone, no matter how wealthy, had to bow low before the procession. "How powerful that official is!" he thought. "I wish that I could be a high official!" Then he became the high official, carried everywhere in his embroidered sedan chair, feared and hated by the people all around. It was a hot summer day, so the official felt very uncomfortable in the sticky sedan chair. He looked up at the sun. It shone proudly in the sky, unaffected by his presence. "How powerful the sun is!" he thought. "I wish that I could be the sun!" Then he became the sun, shining fiercely down on everyone, scorching the fields, cursed by the farmers and laborers. But a huge black cloud moved between him and the earth, so that his light could no longer shine on everything below. "How powerful that storm cloud is!" he thought. "I wish that I could be a cloud!" Then he became the cloud, flooding the fields and villages, shouted at by everyone. But soon he found that he was being pushed away by some great force, and realized that it was the wind. "How powerful it is!" he thought. "I wish that I could be the wind!" Then he became the wind, blowing tiles off the roofs of houses, uprooting trees, feared and hated by all below him. But after a while, he ran up against something that would not move, no matter how forcefully he blew against it - a huge, towering rock. "How powerful that rock is!" he thought. "I wish that I could be a rock!" Then he became the rock, more powerful than anything else on earth. But as he stood there, he heard the sound of a hammer pounding a chisel into the hard surface, and felt himself being changed. "What could be more powerful than I, the rock?" he thought. He looked down and saw far below him the figure of a stone cutter.

There was a lightness in Jem’s chest that he realized, finally, was joy. He saw that joy mirrored in his parabatai’s face. The face of the one you love is the best mirror of all. It shows you your own happiness and your own pain and it helps you to bear both, because to bear either alone is to be overwhelmed by the flood. Jem stood up and held out his hand to Will. Without realizing it, he held his breath. Perhaps this was a dream after all, and when Jem touched him Will would vanish away again. But Will’s hand was warm and solid and strong, and Jem drew him up easily. Together they began to run lightly over the tiles of the roof. The night was very beautiful and warm, and they were both young.

TO DRINK I want to gather your darkness in my hands, to cup it like water and drink. I want this in the same way as I want to touch your cheek— it is the same— the way a moth will come to the bedroom window in late September, beating and beating its wings against cold glass; the way a horse will lower his long head to water, and drink, and pause to lift his head and look, and drink again, taking everything in with the water, everything. IN YOUR HANDS I begin to grow extravagant, like kudzu, that rank, green weed devouring house after house in the South— towards midday, the roof tiles start to throw a wavering light back towards the sun, and roads begin to soften, darken, taking your peregrine tongue, your legs, your eyes, home to shuttered windows, to the cool rooms

When organizining the system of housing of the future - Foundations may be greatly important, but more so the Roof, the producer of the Tiles, as with Material, as with consideration to present and future climate, as with as with. Thus, health is greatly important, for each block which creates the final Pyramid is very much laid and created by the mind [if not directly, indirectly]. Health determines Quality.

No picture of a medieval library can be complete unless it be remembered that in many cases beauty was no less an object than utility. The bookcases were fine specimens of carpentry-work, carved and decorated; the pavement was of encaustic tiles worked in patterns; the walls were decorated with plaster-work in relief; the windows were filled with stained glass; and the roof-timbers were ornamented with the coat-armour of benefactors.

One sunny day, when Jung was twelve, he was traversing the Münsterplatz in Basel, admiring the sun shining on the newly restored glazed roof tiles of the cathedral. He then felt the approach of a terrible, sinful thought, which he pushed away. He was in a state of anguish for several days. Finally, after convincing himself that it was God who wanted him to think this thought, just as it had been God who had wanted Adam and Eve to sin, he let himself contemplate it, and saw God on his throne unleashing an almighty turd on the cathedral, shattering its new roof and smashing the cathedral. With this, Jung felt a sense of bliss and relief such as he had never experienced before. He felt that it was an experience of the "direct living God, who stands omnipotent and free above the Bible and Church." He felt alone before God, and that his real responsibility commenced then.

Our human flesh is better than most things at keeping pace with its own decay, and yet it takes so little—a tiny knife dragged across the windpipe, a dropped roof tile, a puddle three inches deep—to unmake a man or woman. It’s amazing, given everything’s fragility, that we don’t live in a smashed world, all order and structure utterly undone, the whole land heaped with bone, charred wood, carelessly shattered glass. It amazes me sometimes that anything is still standing.

Oh, all right,” she said. “But be careful, those tiles are rotten.” The stranger’s face had a pained expression of stupor and he seemed to be battling silently against his primary instincts so as not to break up the mirage. Remedios the Beauty thought that he was suffering from the fear that the tiles would break and she bathed herself more quickly than usual so that the man would not be in danger. While she was pouring water from the cistern she told him that the roof was in that state because

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.

Over and over. I was tempting fate. What would happen, I wondered, if the wall came down? Would the roof cave in? Would the weight of it falling cause the floorboards to collapse? Would roof tiles and beams and stone come crashing through ceilings onto the beds and boxes as if there were an earthquake? And then what? Would it stop there? How far would it go? I rocked and rocked, taunting the wall, daring it to fall, but it didn’t. Even under duress, it is astonishing just how long a dead wall will stay standing

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

I found an additional merit in everything that was in my mind at the moment, in the pink reflection of the tiled roof, the wild grass in the wall, the village of Roussainville into which I had long desired to penetrate, the trees of its wood and the steeple of its church, created in them by this fresh emotion which made them appear more desirable only because I thought it was they that had provoked it, and which seemed only to wish to bear me more swiftly towards them when it filled my sails with a potent, unknown, and propitious breeze.

I looked into the display window this morning. On a white marble shelf are aligned innumerable boxes, packages, cornets of silver and gold paper, rosettes, bells, flowers, hearts, and long curls of multicolored ribbon. In glass bells and dishes lie the chocolates, the pralines, Venus's nipples, truffles, mendiants, candied fruits, hazelnut clusters, chocolate seashells, candied rose petals, sugared violets... Protected from the sun by the half-blind that shields them, they gleam darkly, like sunken treasure, Aladdin's cave of sweet clichés. And in the middle she has built a magnificent centerpiece. A gingerbread house, walls of chocolate-coated pain d'épices with the detail piped on in silver and gold icing, roof tiles of florentines studded with crystallized fruits, strange vines of icing and chocolate growing up the walls, marzipan birds singing in chocolate trees... And the witch herself, dark chocolate from the top of her pointed hat to the hem of her long cloak half-astride a broomstick that is in reality a giant guimauve, the long twisted marshmallows that dangle from the stalls of sweet-vendors on carnival days...

When my father was satisfied that his room was in order, he would take a pair of compasses and a pair of scissors, cut up twenty-four pieces of paper of equal size and, filling each of them with a pinch of Brazilian tobacco, would make twenty-four cigarettes which were so well-rolled and so uniform in size that they could be considered the most perfect cigarettes in all Spain. He would smoke six of these masterpieces while counting the tiles on the roof of the palacio de Alba, six more in counting the people coming through the Toledo gate, then he would fix his gaze on the door of his room until his dinner was brought to him.

Swords were brought out, guns oiled and made ready, and everything was in a bustle when the old Lexington dropped her anchor on January 26, 1847, in Monterey Bay, after a voyage of one hundred and ninety-eight days from New York. Everything on shore looked bright and beautiful, the hills covered with grass and flowers, the live oaks so serene and homelike, and the low adobe houses, with red-tiled roofs and whitened walls, contrasted well with the dark pine trees behind, making a decidedly good impression upon us who had come so far to spy out the land. Nothing could be more peaceful in its looks than Monterey in January, 1847.

Of all ridiculous things, it seems to me the most ridiculous is to be a busy man of affairs, prompt to meals, and prompt to work. Hence when I see a fly settle down in a crucial moment on the nose of a business man, or see him bespattered by a carriage which passes by him in even greater haste, or a drawbridge opens before him, or a tile from the roof falls down and strikes him dead, then I laugh heartily. And who could help laughing? What do they accomplish, these hustlers? Are they not like the housewife, when her house was on fire, who in her excitement saved the fire-tongs? What more do they save from the great fire of life?

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

Every child begins the world again, to some extent, and loves to stay outdoors, even in wet and cold. It plays house, as well as horse, having an instinct for it. Who does not remember the interest with which, when young, he looked at shelving rocks, or any approach to a cave? It was the natural yearning of that portion, any portion of our most primitive ancestor which still survived in us. From the cave we have advanced to roofs of palm leaves, of bark and boughs, of linen woven and stretched, of grass and straw, of boards and shingles, of stones and tiles. At last, we know not what it is to live in the open air, and our lives are domestic in more senses than we think.

I read, in yellow, on the roof tile of a low structure: "Silvano free." He's free, we're free, all of us are free. Disgust at the torments that shackle us, the chains of heavy life. I leaned weakly on the blue-painted wall of a building on Via Alessandria, with letters cut in the stone: "Prince of Naples Nursery." That's where I was, accents of the south cried in my head, cities that were far apart became a single vice, the blue surface of the sea and the white of the Alps. Thirty years ago the poverella of Piazza Mazzini had been leaning against a wall, a house wall, as I was now, when her breath failed, out of desperation. I couldn't, now, like her, give myself the relief of protest, of revenge.

Here by the winding streamlet, among the sighing winds, old gray mice scurry over the roof-tiles. No one any more remembers the Prince's name who built this palace under overhanging cliffs. In darkened rooms you can see green ghost fires...from the flutes of the forest you can hear a thousand voices. The young palace ladies of long ago are in their yellow graves...then why are painted scrolls still hanging on the wall? The charioteers and their gold chariots are crumbled...then why are stone horses, carved in olden days, standing yet? Sadness sits on the grass. I sing the story, but I am heavy with sorrow...among all these paths that we may walk along into the distance, which one will ever carry us to Life Forever?

The color is yet another variant in another dimension of variation, that of its relations with the surroundings: this red is what it is only by connecting up from its place with other reds about it, with which it forms a constellation, or with other colors it dominates or that dominate it, that it attracts or that attracts it, that it repels or that repel it. In short, it is a certain node in the woof of the simultaneous and the successive. It is a concretion of visibility, it is not an atom. The red dress a fortiori holds with all its fibers onto the fabric of the visible, and thereby onto a fabric of invisible being. A punctuation in the field of red things, which includes the tiles of roof tops, the flags of gatekeepers and of the Revolution, certain terrains near Aix or in Madagascar, it is also a punctuation in the field of red garments, which includes, along with the dresses of women, robes of professors, bishops, and advocate generals, and also in the field of adornments and that of uniforms. And its red literally is not the same as it appears in one constellation or in the other, as the pure essence of the Revolution of 1917 precipitates in it, or that of the eternal feminine, or that of the public prosecutor, or that of the gypsies dressed like hussars who reigned twenty-five years ago over an inn on the Champs-Elysées. A certain red is also a fossil drawn up from the depths of imaginary worlds. If we took all these participations into account, we would recognize that a naked color, and in general a visible, is not a chunk of absolutely hard, indivisible being, offered all naked to a vision which could be only total or null, but is rather a sort of straits between exterior horizons and interior horizons ever gaping open, something that comes to touch lightly and makes diverse regions of the colored or visible world resound at the distances, a certain differentiation, an ephemeral modulation of this world—less a color or a thing, therefore, than a difference between things and colors, a momentary crystallization of colored being or of visibility. Between the alleged colors and visibles, we would find anew the tissue that lines them, sustains them, nourishes them, and which for its part is not a thing, but a possibility, a latency, and a flesh of things.

There was once a stonecutter, who was dissatisfied with himself and with his position in life. One day, he passed a wealthy merchant's house, and through the open gateway, saw many fine possessions and important visitors. "How powerful that merchant must be!" thought the stonecutter. He became very envious, and wished that he could be like the merchant. Then he would no longer have to live the life of a mere stonecutter. To his great surprise, he suddenly became the merchant, enjoying more luxuries and power than he had ever dreamed of, envied and detested by those less wealthy than himself. But soon a high official passed by, carried in a sedan chair, accompanied by attendants, and escorted by soldiers beating gongs. Everyone, no matter how wealthy, had to bow low before the procession. "How powerful that official is!" he thought. "I wish that I could be a high official!" Then he became the high official, carried everywhere in his embroidered sedan chair, feared and hated by the people all around, who had to bow down before him as he passed. It was a hot summer day, and the official felt very uncomfortable in the sticky sedan chair. He looked up at the sun. It shone proudly in the sky, unaffected by his presence. "How powerful the sun is!" he thought "I wish that I could be the sun!" Then he became the sun, shining fiercely down on everyone, scorching the fields, cursed by the farmers and laborers. But a huge black cloud moved between him and the earth, so that his light could no longer shine on everything below. "How powerful that storm cloud is!" he thought. "I wish that I could be a cloud!" Then he became the cloud, flooding the fields and villages, shouted at by everyone. But soon he found that he was being pushed away by some great force, and realized that it was the wind. "How powerful it is!" he thought. "I wish that I could be the wind!" Then he became the wind, blowing tiles off the roofs of houses, uprooting trees, hated and feared by all below him. But after a while, he ran up against something that would not move, no matter how forcefully he blew against it--a huge, towering stone "How powerful that stone is”" he thought. I wish that I could be a stone!" Then he became the stone, more powerful than anything else on earth. But as he stood there, he heard the sound of a hammer pounding a chisel into the solid rock, and felt himself being changed. "What could be more powerful than I, the stone?" he thought. He looked down and saw far below him the fixture of a stonecutter.

The road climbed higher into the mountains of Nikko National Park, the terraced farm fields giving way grudgingly to forests of tiny trees that seemed to be trimmed, the growth around them carefully cultivated. From a narrow defile the car was passed through a massive wooden gate that swung on a huge arch ornately carved with the figures of fierce dragons. From there a perfectly maintained road of crushed white gravel led up the valley to a broad forested ledge through which a narrow stream bubbled and plunged over the sheer edge. The view from the top was breathtaking. Perched on the far edge was a traditionally styled Japanese house, low to the ground and rambling in every direction. Tiled roofs, rice-paper screens and walls, carved beams, courtyards, broad verandas, gardens, ponds, and ancient statues and figures gave the spot an unreal air, as if it were a setting in a fairy tale

The Sentinel of Rain I am a creature who cooks on roofs, sleeps on roofs, livess on roofs. The unenlightened call me homeless; my inner circle know me as 'The Sentinel of Rain'. I know all there is to know about roofs: copper roofing, itchy; aluminium sheeting, noisy; precast concrete; dusty; ceramic tiles; slippery. I haven't had the pleasure of crashing on banana leave or straw roofs but I imagine them to be quite comfy, though pitched a bit steep to saunter about, and as for cooking dinner on, fuhgeddaboudit! Those roofs are as flammable as a cellulose nitrate print of The Blue Angel. Thank God I wasn't born in Southeast Asia or in the backward English countryside with their thatch roof cottages. It's good to be homeless in America. There are so many roof choices, the streets are virtually paved with dumpsters, stocked to the gills like the shelves of Walmart, and when it rains ~ and I'm the first to know, there's never an overpass too far to shelter me from nature's whims.

There's a faulty signal on this line, about halfway through my journey. I assume it must be faulty, in any case, because it's almost always red; we stop there most days, sometimes just for a few seconds, sometimes for minutes on end. If I sit in carriage D, which I usually do, and the train stops at this signal, which it almost always does, I have a perfect view into my favourite trackside house: number fifteen. Number fifteen is much like the other houses along this stretch of track: a Victorian semi, two storeys high, overlooking a narrow, well-tended garden which runs around twenty feet down towards some fencing, beyond which lie a few metres of no man's land before you get to the railway track. I know this house by heart. I know every brick, I know the colour of the curtains in the upstairs bedroom (beige, with a dark-blue print), I know that the paint is peeling off the bathroom window frame and that there are four tiles missing from a section of the roof over on the right-hand side.

On the first day, he’d completed the stucco walls for a small structure the size of his stallion’s box stall, and the other Sorias had been pleased. On the second day, he’d torn free a section of abandoned railroad and melted it into a beautifully intricate metal gate, and the other Sorias had been pleased. On the third day, he’d fired one thousand ceramic tiles with the heat of his own belief and installed a roof made of them, and the other Sorias had been pleased. On the fourth day, the Virgin had appeared again, this time surrounded by owls; he’d carved a statue of her in this state to place inside the Shrine, and the other Sorias had been pleased. On the fifth day, he’d made a rich pigment from some sky that had gotten too close to him and used it to paint the Shrine’s exterior turquoise, and the other Sorias had been pleased. On the sixth day, he’d held up a passenger train, robbed the passengers, killed the sheriff on board, and used the sheriff’s femurs to fashion a cross for the top of the shrine. The Sorias had not been pleased.

Fragments for Subduing the Silence” I. The powers of language are the solitary ladies who sing, desolate, with this voice of mine that I hear from a distance. And far away, in the black sand, lies a girl heavy with ancestral music. Where is death itself? I have wanted clarity in light of my lack of light. Branches die in the memory. The girl lying in the sand nestles into me with her wolf mask. The one she couldn’t stand anymore and that begged for flames and that we set on fire. II. When the roof tiles blow away from the house of language, and words no longer keep—that is when I speak. The ladies in red have lost themselves in their masks. Though they will return to sob among the flowers. Death is no mute. I hear the song of the mourners sealing the clefts of silence. I listen and the sweetness of your crying brings life to my grey silence. III. Death has restored to silence its own bewitching charm. And I will not say my poem and I will say it. Even if (here, now) the poem has no feeling, no future. Boston Review: Three Poems April 15, 2015

A dead world is never really dead. Even when the stars vanish in a great exodus, leaving an inky night that swallows the sky. Even when the sound of silence is a terrible thing to listen to in a city that once groaned with noise. But it’s not quite silence, is it? There are the birds that soar over bare roof rafters, egrets and jackdaws and scruffy brown scraps that go by a multitude of names calling joyfully to each other. There are the nocturnal animals who claw and scrape over cobblestones, lifting their gazes to the two pale moons impressed against a violet sky. There are the trees that stretch upwards, overgrown and languorous, from leaf-strewn courtyards, extending gracefully through balconies and walkways. And below them, the ferns that unfurl in dark, damp corners that might still bear cracked tiles in parched colours, or spongey wooden skates engraved with toothy chisel marks. Life, persistent and predictably stubborn, goes on. Close your eyes and the stars might not sing in this hushed city of dust and dreams, but there’s still singing nonetheless. Even if there’s just one voice left.

Even though the wreckage had been described to her, and though she was still in pain, the sight horrified and amazed her, and there was something she noticed about it that particularly gave her the creeps. Over everything—up through the wreckage of the city, in gutters, along the riverbanks, tangled among tiles and tin roofing, climbing on charred tree trunks—was a blanket of fresh, vivid, lush, optimistic green; the verdancy rose even from the foundations of ruined houses. Weeds already hid the ashes, and wild flowers were in bloom among the city’s bones. The bomb had not only left the underground organs of plants intact; it had stimulated them. Everywhere were bluets and Spanish bayonets, goose-foot, morning glories and day lilies, the hairy-fruited bean, purslane and clotbur and sesame and panic grass and feverfew. Especially in a circle at the center, sickle senna grew in extraordinary regeneration, not only standing among the charred remnants of the same plant but pushing up in new places, among bricks and through cracks in the asphalt. It actually seemed as if a load of sickle-senna seed had been dropped along with the bomb.

He was sitting on the roof- in the dark. His great wings were spread behind him, draped over the tiles. I slid into his lap, looping my arms around his neck. He stared at the city around us. 'So few lights. So few lights left tonight.' I did not look. I only traced the lines of his face, then brushed my thumb over his mouth. 'It is not your fault,' I said quietly. His eyes shifted to mine, barely visible in the dark. 'Isn't it? I handed this city over to them. I said I would be willing to risk it, but... I don't know who I hate more: the king, those queens, or myself.' I brushed the hair out of his face. He gripped my hand, halting my fingers. 'You shut me out,' he breathed. 'You- shielded against me. Completely. I couldn't find a way in.' 'I'm sorry.' Rhys let out a bitter laugh. 'Sorry? Be impressed. That shield... What you did to the Attor...' He shook his head. 'You could have been killed.' 'Are you going to scold me for it?' His brow furrowed. Then he buried his face in my shoulder. 'How could I scold you for defending my people? I want to throttle you, yes, for not going back to the town house, but... You chose to fight for them. For Velaris.' He kissed my neck. 'I don't deserve you.' My heart strained. He meant it- truly felt that way. I stroked his hair again. And I said to him, the words the only sound in the silent, dark city, 'We deserve each other. And we deserve to be happy.' Rhys shuddered against me. And when his lips found mine, I let him lay me down upon the roof tiles and make love to me under the stars.

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 street sprinkler went past and, as its rasping rotary broom spread water over the tarmac, half the pavement looked as if it had been painted with a dark stain. A big yellow dog had mounted a tiny white bitch who stood quite still. In the fashion of colonials the old gentleman wore a light jacket, almost white, and a straw hat. Everything held its position in space as if prepared for an apotheosis. In the sky the towers of Notre-Dame gathered about themselves a nimbus of heat, and the sparrows – minor actors almost invisible from the street – made themselves at home high up among the gargoyles. A string of barges drawn by a tug with a white and red pennant had crossed the breadth of Paris and the tug lowered its funnel, either in salute or to pass under the Pont Saint-Louis. Sunlight poured down rich and luxuriant, fluid and gilded as oil, picking out highlights on the Seine, on the pavement dampened by the sprinkler, on a dormer window, and on a tile roof on the Île Saint-Louis. A mute, overbrimming life flowed from each inanimate thing, shadows were violet as in impressionist canvases, taxis redder on the white bridge, buses greener. A faint breeze set the leaves of a chestnut tree trembling, and all down the length of the quai there rose a palpitation which drew voluptuously nearer and nearer to become a refreshing breath fluttering the engravings pinned to the booksellers’ stalls. People had come from far away, from the four corners of the earth, to live that one moment. Sightseeing cars were lined up on the parvis of Notre-Dame, and an agitated little man was talking through a megaphone. Nearer to the old gentleman, to the bookseller dressed in black, an American student contemplated the universe through the view-finder of his Leica. Paris was immense and calm, almost silent, with her sheaves of light, her expanses of shadow in just the right places, her sounds which penetrated the silence at just the right moment. The old gentleman with the light-coloured jacket had opened a portfolio filled with coloured prints and, the better to look at them, propped up the portfolio on the stone parapet. The American student wore a red checked shirt and was coatless. The bookseller on her folding chair moved her lips without looking at her customer, to whom she was speaking in a tireless stream. That was all doubtless part of the symphony. She was knitting. Red wool slipped through her fingers. The white bitch’s spine sagged beneath the weight of the big male, whose tongue was hanging out. And then when everything was in its place, when the perfection of that particular morning reached an almost frightening point, the old gentleman died without saying a word, without a cry, without a contortion while he was looking at his coloured prints, listening to the voice of the bookseller as it ran on and on, to the cheeping of the sparrows, the occasional horns of taxis. He must have died standing up, one elbow on the stone ledge, a total lack of astonishment in his blue eyes. He swayed and fell to the pavement, dragging along with him the portfolio with all its prints scattered about him. The male dog wasn’t at all frightened, never stopped. The woman let her ball of wool fall from her lap and stood up suddenly, crying out: ‘Monsieur Bouvet!

Colette"s "My Mother's House" and "Sido" After seeing the movie "Colette" I felt so sad that it didn't even touch the living spirit of her that exists in her writing. 'What are you doing with that bucket, mother? Couldn't you wait until Josephine (the househelp) arrives?' "And out I hurried. But the fire was already blazing, fed with dry wood. The milk was boiling on the blue-tiled charcoal stove. Nearby, a bar of chocolate was melting in a little water for my breakfast, and, seated squarely in her cane armchair, my mother was grinding the fragrant coffee which she roasted herself. The morning hours were always kind to her. She wore their rosy colours in her cheeks. Flushed with a brief return to health, she would gaze at the rising sun, while the church bell rang for early Mass, and rejoice at having tasted, while we still slept, so many forbidden fruits. "The forbidden fruits were the over-heavy bucket drawn up from the well, the firewood split with a billhook on an oaken block, the spade, the mattock, and above all the double steps propped against the gable-windows of the attic, the flowery spikes of the too-tall lilacs, the dizzy cat that had to be rescued from the ridge of the roof. All the accomplices of her old existence as a plump and sturdy little woman, all the minor rustic divinities who once obeyed her and made her so proud of doing without servants, now assumed the appearance and position of adversaries. But they reckoned without that love of combat which my mother was to keep till the end of her life. At seventy-one dawn still found her undaunted, if not always undamaged. Burnt by fire, cut with the pruning knife, soaked by melting snow or spilt water, she had always managed to enjoy her best moments of independence before the earliest risers had opened their shutters. She was able to tell us of the cats' awakening, of what was going on in the nests, of news gleaned, together with the morning's milk and the warm loaf, from the milkmaid and the baker's girl, the record in fact of the birth of a new day.

There sits the Jewish Israeli settlement of Halamish, a gated community with neatly arranged red-tile-roofed homes, manicured lawns, playgrounds, and a swimming pool. But Halamish wasn’t always there. It was illegally established on our village’s land in 1977.

The Brazilians didn't do what people in the North had come to expect martial artists to do. They didn’t shriek, growl, howl, sneer, or grimace. They didn't fly through the air to smash roofing tiles with their feet, or slice the tops off whiskey bottles with the sides of their hands. They didn't break bricks or blocks of ice with their heads. They didn't chop the horns off of bulls, extinguish candles with ki power, walk across floors covered with rice paper without tearing it, snatch pebbles from the fingers of blind monks, or meditate under mountainside waterfalls in winter. What the Brazilians did do was to easily subdue the martial artists who performed all these impressive but ultimately meaningless feats.

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The city of Florence lay sprawled out below us, a mass of both brownstone and red-tiled roofs nestled among the brilliant, vibrantly green, rolling Tuscan hills. Above it all rose the massive dome of Santa Maria del Fiore, Brunelleschi’s wonder, famous the world over. The cathedral rose above the city like a great sleeping dragon, watching over its domain even in its slumber.

The capital was beautiful with the sun casting its rays over the high towers, red-tiled roofs, ornate buildings, and that giant, ludicrous, but somehow flattering statue of him in the main square. And what did all this represent, this beauty, this serenity, and industry? Peace. A peace he had fought for long and hard.

Foreign dignitaries who visited in the 1960s, often arriving by train across the Chinese border, gushed over the obviously superior living standards of the North Koreans. In fact, thousands of ethnic Koreans in China fled the famine caused by Mao Zedong’s disastrous “Great Leap Forward” to return to North Korea. North Korea put tile roofs on the houses, and every village was wired for electricity by 1970. Even a hard-bitten CIA analyst, Helen-Louise Hunter, whose reports on North Korea from the 1970s were later declassified and published, grudgingly admitted she was impressed by Kim Il-sung’s North Korea.

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If you are looking for a very durable roof then tile roofing is the way to go. Tile roofing comes in many different designs. The tiles used to be made of slate, fired clay or terra cotta however, today's tiled roofs are mostly made of molded concrete. Tile roofing is best for areas that get sudden storms that dump a lot of rainwater at one time. This is because they are excellent and unscathed by the dump of water. Whereas other roofs will start to deteriorate under this sort of pressure.

A slow rain of condensation splattered his shoulders, the slate pavers, and the clay tiles of cottage roofs. Thousands of snails, some as large as cows, clung to the waterworks above, their shells the color of dark, unpolished jade. The trails of these giant shells glistened like cracks in glass. As

(1) The Mindset of Strategy and Positioning (心持ちの事　付　座之次第) ◎ With regards to mindset as you engage in a contest, be calmer than normal and try to see into your opponent’s mind. The enemy whose voice becomes higher in pitch, eyes widen, face reddens, muscles bulge and face grimaces is basically incompetent and will [clumsily] hit through to the ground. When faced with a [second-rate] adversary such as this, maintain serenity of mind and observe his face dispassionately so as not to provoke him. Then, taking hold of your sword, smile and assume a position lower than the upper stance (jōdan). Coolly evade his blow as he tries to attack you. When the enemy appears somewhat perturbed by your unusual attitude, this is the time to strike. Also, if your opponent is quiet, eyes narrowed, body at ease, and he is holding his sword in a relaxed manner as if his fingers are floating on the hilt, assume that he is an expert. Do not saunter carelessly into his range. You must seize the initiative and assail him skillfully, driving him back and striking in quick succession. If you are nonchalant with such a competent opponent, he will force you back. It is crucial to ascertain how capable your enemy is. In terms of where you should position yourself, the same conditions apply in both spacious or cramped locations. Step in so that walls will not impede your sword swings from either side. Take an approximate stance with the long sword and nimbly close in on your foe. If your sword should collide with some barrier, the enemy will become emboldened and will hem you in. If your sword looks as if it might scrape the ceiling, determine the actual height with the tip and be mindful thereafter. You can employ either sword for this, as long as it is the one that cannot be used [in attack while you do this]. Keep the light behind you. With your usual training, be prepared to freely apply any kind of technique with a relaxed mind, but always execute with urgency. It is important to adapt according to the circumstances. (2) About Gaze (目付之事) ◎ Direct your eyes on the enemy’s face. Do not focus on anything else. Since the mind is projected in [facial] expressions, there is no place more revealing than the face to fix one’s gaze. The way of observing the enemy’s face is the same as looking through the mist at trees and rocks on an island two and a half miles [4 km] in the distance. It is the same as peering at [and identifying] birds perched atop a shanty 100 yards [91 meters] away through the falling sleet. It is also akin to beholding a decorative wooden board used to cover the ridge and purlin ends of a roof gable or the tiles on a hut. Calmly focus your gaze [to take everything in].

This story isn't over.' He pulled again at the loose thread, winding it around his thumb. The thread was long and silvery, like a thread of moonlight. Spider's skillful fingers teased and pulled on the delicate thread. And as they did so, the Daylight Folk gradually became aware of the cloud of butterflies and moths returning. Softly, they settled onto the stones and terracotta tiles of the roof. Softly, they settled onto the stones of the parapet where Spider sat. Softly, they clustered and blossomed and bloomed, hanging like grapes in the luminous air-- and soon the onlookers started to see a figure-- no, two figures-- taking shape among them. For a moment, it was impossible to see more than an outline. But as the shapes became clearer, the Daylight Folk were able to see a man and a woman, hand in hand. Their faces were almost familiar, and yet not quite the same as before: the woman small-featured and freckle-faced; the man dark-haired and soulful. Each of them was staring at the other in amazement. 'Tom?' said Charissa. 'Charissa?' said Tom.

our interviews suggest that many rural men migrate to the city precisely to prepare for marriage. Married men who do not already work in the city rarely migrate there (it is different for those who live in towns surrounding cities).     After the death of my parents and oldest brother, I took care of the siblings. In 1997, I came to Bujumbura to do different jobs and then I managed to buy my own bike and I started doing taxi-vélo. I have done this job since 2002 and it allows me to have everything I need. I managed to build a house and I married because of my work. I also managed to buy three goats and five parcels of land to cultivate. I think that with God’s help I will manage the development I wished for when I came to the city. (Twenty-six-year-old migrant, Musaga)     I am saving some money to buy a couple of cows. After that, I will seek a wife. I am busy building a house with a tile roof in my colline to prepare my marriage. (Twenty-year-old male migrant, Musaga)

We gazed back over the fields to the farmhouse. Its white walls, faded wooden shutters and terra-cotta tiled roof peeped sleepily over the deep green domes of the orange trees, while the mountains looked benignly on - secure, solid and serene. Without exchanging a word, we both knew that this was going to be our new home.

A smell caught Kitty's attention, yanking her thoughts back to the present. The scent of someone she knew, but up on the roof? Curiosity had never hurt Kitty. She crept along, her feet silent on the roof tiles, following the peace, creamy smell. By Humpty Dumpty's shell, it was Darling Charming! Locked up in a metal box on the roof! Honestly, and people said that Wonderlandians were weird.

A smell caught Kitty's attention, yanking her thoughts back to the present. The scent of someone she knew, but up on the roof? Curiosity had never hurt Kitty. She crept along, her feet silent on the roof tiles, following the peachy, creamy smell. By Humpty Dumpty's shell, it was Darling Charming! Locked up in a metal box on the roof! Honestly, and people said that Wonderlandians were weird.

For God's sake, not that elm tree again! 'My elm' this, 'my elm' that, morning, noon, and night... Where are the so called fruits of this elm, eh, that you've worn your life out on? Still on the way are they? Soup with meat and pure white rice-" "Stop flapping your tongue woman. They're awarding medals at the factory tomorrow; I'll need to be able to hold my head up then, won't I?" "Another medal! What good is a medal to us? Will a medal keep us warm? Will a medal fill our stomachs? It's just a useless chunk of iron; it's a far cry from silk clothes and a tile-roofed house.

On the third day, he’d fired one thousand ceramic tiles with the heat of his own belief and installed a roof made of them, and the other Sorias had been pleased.

Julia didn't want to leave Colonia. She liked her little world, the cobbled streets that wound upward as if searching for the sky; her own sloping, rickety house with its roof of crooked pink tiles - the exclusive domain of the neighborhood cats that Julia fed in secret. She felt she was the mistress of this small, safe world where should do as she pleased with her days; where Anna alone was allowed to enter; and where everyone except her mother respected her desire for childhood solitude.