Row Of Trees Quotes

Cecily, what are you doing?" Will demanded, interrupting Gideon; he knew he sounded like a distracted parent, but he didn't care. Cecily has slid her blade into her belt and appeared to be trying to climb one of the small yew trees inside the first row of hedges. "Now is not the time for climbing trees!

A shaft of moonlight illuminated a row of sentinel silver birch in a phosphorescent glow, appearing almost ethereal in the relative surrounding gloom. Boris had stopped again, his silhouette a stark black juxtaposition against the background of illuminated branches.

Learn to like what doesn't cost much. Learn to like reading, conversation, music. Learn to like plain food, plain service, plain cooking. Learn to like fields, trees, brooks, hiking, rowing, climbing hills. Learn to like people, even though some of them may be different...different from you. Learn to like to work and enjoy the satisfaction doing your job as well as it can be done. Learn to like the song of birds, the companionship of dogs. Learn to like gardening, puttering around the house, and fixing things. Learn to like the sunrise and sunset, the beating of rain on the roof and windows, and the gentle fall of snow on a winter day. Learn to keep your wants simple and refuse to be controlled by the likes and dislikes of others.

And there, row upon row, with the soft gleam of flowers opened at morning, with the light of this June sun glowing through a faint skin of dust, would stand the dandelion wine. Peer through it at the wintry day - the snow melted to grass, the trees were reinhabitated with bird, leaf, and blossoms like a continent of butterflies breathing on the wind. And peering through, color sky from iron to blue. Hold summer in your hand, pour summer in a glass, a tiny glass of course, the smallest tingling sip for children; change the season in your veins by raising glass to lip and tilting summer in

The works of the roots of the vines, of the trees, must be destroyed to keep up the price, and this is the saddest, bitterest thing of all. Carloads of oranges dumped on the ground. The people came for miles to take the fruit, but this could not be. How would they buy oranges at twenty cents a dozen if they could drive out and pick them up? And men with hoses squirt kerosene on the oranges, and they are angry at the crime, angry at the people who have come to take the fruit. A million people hungry, needing the fruit- and kerosene sprayed over the golden mountains. And the smell of rot fills the country. Burn coffee for fuel in the ships. Burn corn to keep warm, it makes a hot fire. Dump potatoes in the rivers and place guards along the banks to keep the hungry people from fishing them out. Slaughter the pigs and bury them, and let the putrescence drip down into the earth. There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill in the certificate- died of malnutrition- because the food must rot, must be forced to rot. The people come with nets to fish for potatoes in the river, and the guards hold them back; they come in rattling cars to get the dumped oranges, but the kerosene is sprayed. And they stand still and watch the potatoes float by, listen to the screaming pigs being killed in a ditch and covered with quick-lime, watch the mountains of oranges slop down to a putrefying ooze; and in the eyes of the people there is the failure; and in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.

I grew up on a Christmas tree farm in Reading, PA. It was the most magical fun childhood. We had grape arbours and we would make jam with my mom. My dad would go to work and he'd come home. He'd clean out stalls and fix split-row fences.

On Harpy’s Drive we passed a row of trees, each one with its trunk unnaturally bloated and covered with black fuzz. I had no idea what the fuzz did, but we steered clear of it. The law of navigating post-Shift Atlanta was simple: if you don’t know what it is, don’t touch it.

The windows, the starving windows that drive the trees like nails into my heart.

when you lose your sails, row.

And everywhere people asked him why he was walking through the country. Because he loved true things, he tried to explain. He said he was nervous and besides he wanted to see the country, smell the ground and look at grass and birds and trees, to savor the country, and there was no other way to do it save on foot. And people didn't like him for telling the truth. They scowled, or shook and tapped their heads, they laughed as though they knew it was a lie and they appreciated a liar. And some, afraid for their daughters or pigs, told him to move on, to get going, just not to stop near their place if he knew what was good for him. And so he stopped telling the truth. He said he was doing it on a bet - that he stood to win a hundred dollars. Everyone liked him then and believed him.

A row of trees far away, there on the hillside. But what is it, a row of trees? It’s just trees. Row and the plural trees aren’t things, they’re names.

The Word is symbol of delight which sucks up men and scenes, trees, plants, factories, and Pekinese. Then the Thing becomes the Word and the back to Thing again, but warped and woven into a fantastic pattern.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

Say the planet is born at midnight and it runs for one day. First there is nothing. Two hours are lost to lava and meteors. Life doesn’t show up until three or four a.m. Even then, it’s just the barest self-copying bits and pieces. From dawn to late morning—a million million years of branching—nothing more exists than lean and simple cells. Then there is everything. Something wild happens, not long after noon. One kind of simple cell enslaves a couple of others. Nuclei get membranes. Cells evolve organelles. What was once a solo campsite grows into a town. The day is two-thirds done when animals and plants part ways. And still life is only single cells. Dusk falls before compound life takes hold. Every large living thing is a latecomer, showing up after dark. Nine p.m. brings jellyfish and worms. Later that hour comes the breakout—backbones, cartilage, an explosion of body forms. From one instant to the next, countless new stems and twigs in the spreading crown burst open and run. Plants make it up on land just before ten. Then insects, who instantly take to the air. Moments later, tetrapods crawl up from the tidal muck, carrying around on their skin and in their guts whole worlds of earlier creatures. By eleven, dinosaurs have shot their bolt, leaving the mammals and birds in charge for an hour. Somewhere in that last sixty minutes, high up in the phylogenetic canopy, life grows aware. Creatures start to speculate. Animals start teaching their children about the past and the future. Animals learn to hold rituals. Anatomically modern man shows up four seconds before midnight. The first cave paintings appear three seconds later. And in a thousandth of a click of the second hand, life solves the mystery of DNA and starts to map the tree of life itself. By midnight, most of the globe is converted to row crops for the care and feeding of one species. And that’s when the tree of life becomes something else again. That’s when the giant trunk starts to teeter.

Part of her wanted simply to sit and stare out of the window, at the lawn, flaky with sodden leaves, and the branches with yellow leaves, or few, or none, she thought, taking pleasure at least in Shakespeare’s rhythm, but also feeling old. She took pleasure, too, in the inert solidity of glass panes and polished furniture and rows of ordered books around her, and the magic trees of life woven in glowing colours on the rugs at her feet.

I’m not this unusual,” she said. “It’s just my hair.” She looked at Bobby and she looked at me, with an expression at once disdainful and imploring. She was forty, pregnant, and in love with two men at once. I think what she could not abide was the zaniness of her life. Like many of us, she had grown up expecting romance to bestow dignity and direction. “Be brave,” I told her. Bobby and I stood before her, confused and homeless and lacking a plan, beset by an aching but chaotic love that refused to focus in the conventional way. Traffic roared behind us. A truck honked its hydraulic horn, a monstrous, oceanic sound. Clare shook her head, not in denial but in exasperation. Because she could think of nothing else to do, she began walking again, more slowly, toward the row of trees.

Unhappy is he to whom the memories of childhood bring only fear and sadness. Wretched is he who looks back upon lone hours in vast and dismal chambers with brown hangings and maddening rows of antique books, or upon awed watches in twilight groves of grotesque, gigantic, and vine-encumbered trees that silently wave twisted branches far aloft. Such a lot the gods gave to me - to me, the dazed, the disappointed; the barren, the broken. And yet I am strangely content and cling desperately to those sere memories, when my mind momentarily threatens to reach beyond to the other.

Ben remembered that in Italy, he and Rachel had slipped down between rows of apple trees on the plain of the Po, deep into the cool and dark of orchards, and there they had kissed with the sadness of newlyweds who know that their kisses are too poignantly tender and that their good fortune is subject, like all things, to the crush of time, which remorselessly obliterates what is most desired and pervades all that is beautiful.

​There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And the children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill the certificates - died of malnutrition - because the food must rot, must be forced to rot. ...and in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.

The grocery store has rows and rows of color, of light, of easy hope. Hannah moves down the aisle, but I stand like a tree rooted firm, my eyes too full of this place, with its answers to prayers on every shelf.

Inside plum trees stood in a row, flowers lifted their pale throats to the moon and stars, a magnolia held its tight-closed buds like white candles in its green hands.

What actually happened was something absurdly simple and unspectacular: I stopped thinking. [...] Reason and imagination and all mental chatter died down. For once, words really failed me. Past and future dropped away. I forgot who and what I was, my name, manhood, animalhood, all that could be called mine. It was as if I had been born that instant, brand new, mindless, innocent of all memories. There existed only the Now, that present moment and what was clearly given in it. To look was enough. And what I found was khaki trouserlegs terminating downwards in a pair of brown shoes, khaki sleeves terminating sideways in a pair of pink hands, and a khaki shirtfront terminating upwards in—absolutely nothing whatever! Certainly not in a head. It took me no time at all to notice that this nothing, this hole where a head should have been was no ordinary vacancy, no mere nothing. On the contrary, it was very much occupied. It was a vast emptiness vastly filled, a nothing that found room for everything—room for grass, trees, shadowy distant hills, and far above them snowpeaks like a row of angular clouds riding the blue sky. I had lost a head and gained a world.

The higher that the monkey can climb, the more he shows his tail. Call no man happy till he dies, there's no milk at the bottom of the pail. God builds a church and the devil builds a chapel, like the thistles that are growing 'round the trunk of a tree. All the good in the world you could put inside a thimble, and still have room for you and me. If there's one thing you can say about mankind, there's nothing kind about man. You can drive out nature with a pitchfork, but it always coming roaring back again. Misery's the river of the world, misery's the river of the world. Everybody row, everybody row; misery's the river of the world.

The faint aroma of gum and calico that hangs about a library is as the fragrance of incense to me. I think the most beautiful sight is the gilt-edged backs of a row of books on a shelf. The alley between two well-stocked shelves in a hall fills me with the same delight as passing through a silent avenue of trees. The colour of a binding-cloth and its smooth texture gives me the same pleasure as touching a flower on its stalk. A good library hall has an atmosphere which elates. I have seen one or two University Libraries that have the same atmosphere as a chapel, with large windows, great trees outside, and glass doors sliding on noiseless hinges.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lamb's-quarter, cutgrass, sawbrier, nutgrass, jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage, goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads gently nodding in a morning breeze like a mother's soft hand on your cheek. An arrow of starlings fired from the windbreak's thatch. The glitter of dew that stays where it is and steams all day. A sunflower, four more, one bowed, and horses in the distance standing rigid and still as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers. Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.

Crape Myrtle trees line our streets. They awaken at the onset of Irans mid-day heat. They turn their leaves up, lifting their branches to give the azure Middle-Eastern sky an open-mouth kiss. Row after row blushes with red blossoms of ecstasy. Noshahr--where every hill has its own story, every valley its own poem, every girl her own heartache . . . that's for certain.

I’ll have a desk like this in my parlor and white walls and a clean green blotter every Saturday night and a row of shining yellow pencils always sharpened for writing and a golden-brown bowl with a flower or some leaves or berries always in it and books…books…books….

She stood at the edge of a glassy river lined with impossibly tall trees, fanning out their wide emerald leaves among the puffy white clouds. Across the river, a row of crystal castles glittered in the sunlight in a way that would make Walt Disney want to throw rocks at his “Magic Kingdom.” To her right, a golden path led into a sprawling city, where the elaborate domed buildings seemed to be built from brick-size jewels—each structure a different color. Snowcapped mountains surrounded the lush valley, and the crisp, cool air smelled like cinnamon and chocolate and sunshine.

drove a ’61 Ford station wagon: six in a row for more go and three on the tree (if you don’t know, ask your dad).

He sat down in the grass. I pointed at the row of trees that lined the fence to the left of the yard. "You see that tree over there?" In the middle of the row of trees was a oak tree that stood taller than all the rest of the trees. Atlas glanced over at it and dragged his eyes all the way up the top of the tree. "It grew on its own," I said. "Most plants do need a lot of care to survive. But some things, like trees, are strong enough to do it by just relying on themselves and nobody else.

In clear-cutting, he said, you clear away the natural forest, or what the industrial forester calls "weed trees," and plant all one species of tree in neat straight functional rows like corn, sorghum, sugar beets or any other practical farm crop. You then dump on chemical fertilizers to replace the washed-away humus, inject the seedlings with growth-forcing hormones, surround your plot with deer repellants and raise a uniform crop of trees, all identical. When the trees reach a certain prespecified height (not maturity; that takes too long) you send in a fleet of tree-harvesting machines and cut the fuckers down. All of them. Then burn the slash, and harrow, seed, fertilize all over again, round and round and round again, faster and faster, tighter and tighter until, like the fabled Malaysian Concentric Bird which flies in ever-smaller circles, you disappear up your own asshole.

He put on a little knapsack and he walked through Indiana and Kentucky and North Carolina and Georgia clear to Florida. He walked among farmers and mountain people, among swamp people and fishermen. And everywhere people asked him why he was walking through the country. Because he loved true things he tried to explain. He said he was nervous and besides he wanted to see the country, smell the ground and look at grass and birds and trees, to savor the country, and there was no other way to do it save on foot.

My loneliness...still comes over me sometimes...It's a liminal, lost sensation of having wandered wide, endless boulevards, among rows of orange trees, winter butterflies, seasons reversed and out of order, dogs barking from behind fences meant to keep out intruders. It's not the place that impoverishes me but I who bring my own sense of poverty, of loss, to the place. It's a sense of near nothingness, as though I were not so much a blank slate as an erased chalkboard, still bearing illegible smudges of smoothed-over writing.

I start to run, and my nose fills with the smell of rain and wet earth. I run along the shoulder of the highway in an easy rhythm, and the rain gathers up on my forehead and eyebrows; it flows down my face, it drips from the tip of my nose. There is wet dirt, a puddle in the gravel, new grass pushing through old in the ditch. Violets grow along the edge of the road. To my right, the Little Jib River flows brown and swollen to the lake. The water moves ceaselessly, and I move along with it. To my left, across the road, the rain strips wilted cherry blossoms from the rows and rows of trees, and drops them to the ground.

The houses looked like something a child might draw, a row of shaky squares with triangles on top. Add a door, add two windows. Think of putting a tree in the front yard, and then decide against it because branches aren't worth the trouble.

In the cosmic landscape, plants have front-row seats. God is thrilled to have an audience of creation made up mostly of plant life: trees and bushes, flowers and berries, sitting down to enjoy the show, and saying at intermission, What a romp!

THE MOON AND THE YEW TREE This is the light of the mind, cold and planetary. The trees of the mind are black. The light is blue. The grasses unload their griefs on my feet as if I were God, Prickling my ankles and murmuring of their humility. Fumy, spiritous mists inhabit this place Separated from my house by a row of headstones. I simply cannot see where there is to get to. The moon is no door. It is a face in its own right, White as a knuckle and terribly upset. It drags the sea after it like a dark crime; it is quiet With the O-gape of complete despair. I live here. Twice on Sunday, the bells startle the sky Eight great tongues affirming the Resurrection. At the end, they soberly bong out their names. The yew tree points up. It has a Gothic shape. The eyes lift after it and find the moon. The moon is my mother. She is not sweet like Mary. Her blue garments unloose small bats and owls. How I would like to believe in tenderness The face of the effigy, gentled by candles, Bending, on me in particular, its mild eyes. I have fallen a long way. Clouds are flowering Blue and mystical over the face of the stars. Inside the church, the saints will be all blue, Floating on their delicate feet over the cold pews, Their hands and faces stiff with holiness. The moon sees nothing of this. She is bald and wild. And the message of the yew tree is blackness -- blackness and silence. --written 22 October 1961

The sky puts on the darkening blue coat held for it by a row of ancient trees; you watch: and the lands grow distant in your sight, one journeying to heaven, one that falls; and leave you, not at home in either one, not quite so still and dark as the darkened houses, not calling to eternity with the passion of what becomes a star each night, and rises; and leave you (inexpressibly to unravel) your life, with its immensity and fear, so that, now bounded, now immeasurable, it is alternately stone in you and star.

Now I know all city parks are the same. Hyde Park. The bluffs above Santa Monica. The Tuileries. Just paths beneath trees where people walk in varying states of heartbreak. Staggering between divorces and biopsies. And at the edge, one final row of lavender azaleas.

six in a row for more go and three on the tree (if you don’t know, ask your dad).

Loretta started belting out a song: “Row, row, row your boat, sitting in a tree! K-I-S-S-I-N-G !

The Last Words of My English Grandmother There were some dirty plates and a glass of milk beside her on a small table near the rank, disheveled bed-- Wrinkled and nearly blind she lay and snored rousing with anger in her tones to cry for food, Gimme something to eat-- They're starving me-- I'm all right--I won't go to the hospital. No, no, no Give me something to eat! Let me take you to the hospital, I said and after you are well you can do as you please. She smiled, Yes you do what you please first then I can do what I please-- Oh, oh, oh! she cried as the ambulance men lifted her to the stretcher-- Is this what you call making me comfortable? By now her mind was clear-- Oh you think you're smart you young people, she said, but I'll tell you you don't know anything. Then we started. On the way we passed a long row of elms. She looked at them awhile out of the ambulance window and said, What are all those fuzzy looking things out there? Trees? Well, I'm tired of them and rolled her head away.

The mountain panorama was the backdrop to every photo taken here, the backdrop to everything. At first Ursula had thought it beautiful, now she was beginning to find its magnificence oppressive. The great icy crags and the rushing waterfalls, the endless pine trees--nature and myth fused to form the Germanic sublimated soul. German Romanticism, it seemed to Ursula, was write large and mystical, the English Lakes seemed tame by comparison. And the English soul, if it resided anywhere, was surely in some unheroic back garden--a patch of lawn, a bed of roses, a row of runner beans.

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.

If you, like me, are essentially a city person, then the chances are that when you imagine a wood you picture a simple thing: matching green trees in even rows, a soft carpet of dead leaves or pine needles, orderly as a child’s drawing. Possibly those earnestly efficient man-made woods are in fact like that; I wouldn’t know.

The pear trees were bare, their limbs spread open like the viscera of a parasol. Stretching into the darkness beyond, the single houses, double houses, and villas were lined up in cramped, neat rows which ran toward the tip of the peninsula. p94

There is a tray full of glass sundae dishes filled with brightly colored ice cream. Strawberry, pistachio, black raspberry. Pink, green, and purple. I like the colors next to each other and wonder what kind of impossible things I can draw about ice cream. Maybe melting rivers of it. And a man with a cone-shaped head sitting in a babana split dish rowing with a spoon.

The pine trees were rows of knife-blades whispering: “Fall upon us!” and in the gathering darkness the torrent roared and howled, beating against its rocking prison walls with the frenzy of an everlasting despair. “Padre!” Arthur rose, shuddering, and drew back from the precipice. “It is like hell.” “No, my son,” Montanelli answered softly, “it is only like a human soul.

Grave What do you think of my new glasses I asked as I stood under a shade tree before the joined grave of my parents, and what followed was a long silence that descended on the rows of the dead and on the fields and the woods beyond, one of the one hundred kinds of silence according to the Chinese belief, each one distinct from the others, but the differences being so faint that only a few special monks were able to tell them apart. They make you look very scholarly, I heard my mother say once I lay down on the ground and pressed an ear into the soft grass. Then I rolled over and pressed my other ear to the ground, the ear my father likes to speak into, but he would say nothing, and I could not find a silence among the 100 Chinese silences that would fit the one that he created even though I was the one who had just made up the business of the 100 Chinese silences - the Silence of the Night Boat and the Silence of the Lotus, cousin to the Silence of the Temple Bell only deeper and softer, like petals, at its farthest edges.

Beyond that row was a double row of trees. Sam headed in that direction, Dad on her heels. "Be careful of snakes." That stopped her in her tracks. She could deal with a snarling dog. A hissing cat. Even a spitting ferret like her cousin Chris had, but she had the biggest fear if snakes. It didn't matter if it was a grass snake or a supposedly good snake that ate the poisonous snakes. In Sam's opinion, the only good snake was a dead snake. Dead and chopped up into little, itty, bitty pieces. ~From "Samantha Sanderson On the Scene

But what Tyler longed for was to have The Feeling arrive; when every flicker of light that touched the dipping branches of a weeping willow, every breath of breeze that bent the grass towards the row of apple trees, every shower of yellow ginko leaves dropping to the ground with such direct and tender sweetness, would fill the minister with profound and irreducible knowledge that God was right there.

We surf-fished in the breakers catching spottail bass and flounder for dinner. I discovered that summer that I loved to cook and feed my friends, and I enjoyed the sound of their praise as they purred with pleasure at the meals I fixed over glowing iron and fire. I had the run of my grandparents’ garden and I would put ears of sweet corn in aluminum foil after washing them in seawater and slathering them with butter and salt and pepper. Beneath the stars we would eat the beefsteak tomatoes okra and the field peas flavored with salt pork and jalapeno peppers. I would walk through the disciplined rows that brimmed with purple eggplants and watermelons and cucumbers, gathering vegetables. My grandfather, Silas, told us that summer that low country earth was so fertile you could drop a dime into it and grow a money tree.

He fell asleep and again dreamt of being rowed by two myrtle trees, except this time they rowed through the stars to the moon, and it was quiet, and while everything went on forever the stars were as knowable and as safe and as comforting a world as that of the rainforested rivers.

Unhappy is he to whom the memories of childhood bring only fear and sadness. Wretched is he who looks back upon lone hours in vast and dismal chambers with brown hangings and maddening rows of antique books, or upon awed watches in twilight groves of grotesque, gigantic, and vine-encumbered trees that silently wave twisted branches far aloft. Such a lot the gods gave to me—to me, the dazed, the disappointed; the barren, the broken.

I took a stroll in the curious old-world garden which flanked the house. Rows of very ancient yew trees cut into strange designs girded it round. Inside was a beautiful stretch of lawn with an old sundial in the middle, the whole effect so soothing and restful that it was welcome to my somewhat jangled nerves.

To begin with, there is the frightful debauchery of taste that has already been effected by a century of mechanisation. This is almost too obvious and too generally admitted to need pointing out. But as a single instance, take taste in its narrowest sense - the taste for decent food. In the highly mechanical countries, thanks to tinned food, cold storage, synthetic flavouring matters, etc., the palate it almost a dead organ. As you can see by looking at any greengrocer’s shop, what the majority of English people mean by an apple is a lump of highly-coloured cotton wool from America or Australia; they will devour these things, apparently with pleasure, and let the English apples rot under the trees. It is the shiny, standardized, machine-made look of the American apple that appeals to them; the superior taste of the English apple is something they simply do not notice. Or look at the factory-made, foil wrapped cheeses and ‘blended’ butter in an grocer’s; look at the hideous rows of tins which usurp more and more of the space in any food-shop, even a dairy; look at a sixpenny Swiss roll or a twopenny ice-cream; look at the filthy chemical by-product that people will pour down their throats under the name of beer. Wherever you look you will see some slick machine-made article triumphing over the old-fashioned article that still tastes of something other than sawdust. And what applies to food applies also to furniture, houses, clothes, books, amusements and everything else that makes up our environment. These are now millions of people, and they are increasing every year, to whom the blaring of a radio is not only a more acceptable but a more normal background to their thoughts than the lowing of cattle or the song of birds. The mechanisation of the world could never proceed very far while taste, even the taste-buds of the tongue, remained uncorrupted, because in that case most of the products of the machine would be simply unwanted. In a healthy world there would be no demand for tinned food, aspirins, gramophones, gas-pipe chairs, machine guns, daily newspapers, telephones, motor-cars, etc. etc.; and on the other hand there would be a constant demand for the things the machine cannot produce. But meanwhile the machine is here, and its corrupting effects are almost irresistible. One inveighs against it, but one goes on using it. Even a bare-arse savage, given the change, will learn the vices of civilisation within a few months. Mechanisation leads to the decay of taste, the decay of taste leads to demand for machine-made articles and hence to more mechanisation, and so a vicious circle is established.

After checking into the Hotel Monaco in downtown Seattle, Dana walked to Yesler Way, a steep street known as Skid Road in the 1850s, when the area was teeming with trees and a chute was used to skid logs to Henry Yesler’s sawmill. When Seattle’s city center moved north, the area became a dilapidated haven for drunks and derelicts and went from being called Skid Road to Skid Row, a term eventually used all over America to refer to a down-and-out section of a town or city.

The moon was up now and the trees were dark against it, and he passed the frame houses with their narrow yards, light coming from the shuttered windows; the unpaved alleys, with their double rows of houses; Conch town, where all was starched, well-shuttered, virtue, failure, grit and boiled grunts, under-nourishment, prejudice, righteousness, inter-breeding and the comforts of religion; the open-doored, lighted Cuban boilto houses, shacks whose only romance was their names

One night he sits up. In cots around him are a few dozen sick or wounded. A warm September wind pours across the countryside and sets the walls of the tent rippling. Werner’s head swivels lightly on his neck. The wind is strong and gusting stronger, and the corners of the tent strain against their guy ropes, and where the flaps at the two ends come up, he can see trees buck and sway. Everything rustles. Werner zips his old notebook and the little house into his duffel and the man beside him murmurs questions to himself and the rest of the ruined company sleeps. Even Werner’s thirst has faded. He feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters. Out there, through the open flaps of the tent, clouds hurtle above treetops. Toward Germany, toward home. Silver and blue, blue and silver. Sheets of paper tumble down the rows of cots, and in Werner’s chest comes a quickening. He sees Frau Elena kneel beside the coal stove and bank up the fire. Children in their beds. Baby Jutta sleeps in her cradle. His father lights a lamp, steps into an elevator, and disappears. The voice of Volkheimer: What you could be. Werner’s body seems to have gone weightless under his blanket, and beyond the flapping tent doors, the trees dance and the clouds keep up their huge billowing march, and he swings first one leg and then the other off the edge of the bed. “Ernst,” says the man beside him. “Ernst.” But there is no Ernst; the men in the cots do not reply; the American soldier at the door of the tent sleeps. Werner walks past him into the grass. The wind moves through his undershirt. He is a kite, a balloon. Once, he and Jutta built a little sailboat from scraps of wood and carried it to the river. Jutta painted the vessel in ecstatic purples and greens, and she set it on the water with great formality. But the boat sagged as soon as the current got hold of it. It floated downstream, out of reach, and the flat black water swallowed it. Jutta blinked at Werner with wet eyes, pulling at the battered loops of yarn in her sweater. “It’s all right,” he told her. “Things hardly ever work on the first try. We’ll make another, a better one.” Did they? He hopes they did. He seems to remember a little boat—a more seaworthy one—gliding down a river. It sailed around a bend and left them behind. Didn’t it? The moonlight shines and billows; the broken clouds scud above the trees. Leaves fly everywhere. But the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems to Werner like impossibly slow, imperturbable rays. They hang across the buckling grass. Why doesn’t the wind move the light? Across the field, an American watches a boy leave the sick tent and move against the background of the trees. He sits up. He raises his hand. “Stop,” he calls. “Halt,” he calls. But Werner has crossed the edge of the field, where he steps on a trigger land mine set there by his own army three months before, and disappears in a fountain of earth.

Back in Henrietta, night proceeded. Richard Gansey was failing to sleep. When he closed his eyes: Blue’s hands, his voice, black bleeding from a tree. It was starting, starting. No. It was ending. He was ending. This was the landscape of his personal apocalypse. What was excitement when he was wakeful melted into dread when he was tired. He opened his eyes. He opened Ronan’s door just enough to confirm that Ronan was inside, sleeping with his mouth ajar, headphones blaring, Chainsaw a motionless lump in her cage. Then, leaving him, Gansey drove to the school. He used his old key code to get into Aglionby’s indoor athletic complex, and then he stripped and swam in the dark pool in the darker room, all sounds strange and hollow at night. He did endless laps as he used to do when he had first come to the school, back when he had been on the rowing team, back when he had sometimes come earlier than even rowing practice to swim. He had nearly forgotten what it felt like to be in the water: It was as if his body didn’t exist; he was just a borderless mind. He pushed himself off a barely visible wall and headed towards the even less visible opposite one, no longer quite able to hold on to his concrete concerns. School, Headmaster Child, even Glendower. He was only this current minute. Why had he given this up? He couldn’t remember even that. In the dark water he was only Gansey, now. He’d never died, he wasn’t going to die again. He was only Gansey, now, now, only now. He could not see him, but Noah stood on the edge of the pool and watched. He had been a swimmer himself, once.

The siren soared again, closer at hand, and then, with no anticipatory roar and clamour, a dark and sinuous body curved into view against the shadows far down the high-banked track, and with no sound but the rush of the cleft wind and the clock like tick of the rails, moved towards the bridge - it was an electric train. Above the engine two vivid blurs of blue light formed incessantly a radiant crackling bar between them, which, like a spluttering flame in a lamp beside a corpse, lit for an instant the successive rows of trees and caused Gloria to draw back instinctively to the far side of the road. The light was tepid - the temperature of warm blood... The clicking blended suddenly with itself in a rush of even sound, and then, elongating in sombre elasticity, the thing roared blindly by her and thundered onto the bridge, racing the lurid shaft of fire it cast into the solemn river alongside. Then it contracted swiftly, sucking in its sound until it left only a reverberant echo, which died upon the farther bank.

They were all like siblings, Mr. Kapasi thought as they passed a row of date trees. Mr. and Mrs. Das behaved like an older brother and sister, not parents.

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,

But the boy was quiet. He was at home with the silence of the desert, and he was content just to look at the trees. He still had a long way to go to reach the Pyramids, and someday this morning would just be a memory. But this was the present moment - the party the camel driver had mentioned - and he wanted to live it as he did the lessons of his past and hid dreams of the future. Although the vision of the date palms would someday be just a memory, right now it signified shade, water, and a refuge from the war. Yesterday, the camel's groan signaled danger, and now a row of date palms could herald a miracle. The world speaks many languages, the boy thought.

Our bodies align with these rhythms of life in our footsteps (slow tiptoe or urgent stomp), the sleeping rise-fall breath of your baby on your chest, or a row of oak trees mirrored in a rippling lake. A butterfly’s wings flap every second—flapflapflap—to keep it free-floating through the sky, dipping now and again to kiss sweet flowers. Rhythms benefit from variety too; a gentle spring rainstorm turns dramatic with an unexpected thunderclap.

There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill in the certificates—died of malnutrition—because the food must rot, must be forced to rot.

For eight years I dreamed of fire. Trees ignited as I passed them; oceans burned. The sugary smoke settled in my hair as I slept, the scent like a cloud left on my pillow as I rose. Even so, the moment my mattress started to burn, I bolted awake. The sharp, chemical smell was nothing like the hazy syrup of my dreams; the two were as different as Carolina and Indian jasmine, separation and attachment. They could not be confused. Standing in the middle of the room, I located the source of the fire. A neat row of wooden matches lined the foot of the bed. They ignited, one after the next, a glowing picket fence across the piped edging. Watching them light, I felt a terror unequal to the size of the flickering flames, and for a paralyzing moment I was ten years old again, desperate and hopeful in a way I had never been before and never would be again. But the bare synthetic mattress did not ignite like the thistle had in late October. It smoldered, and then the fire went out. It was my eighteenth birthday.

Oh, Haifa. City of glistering grime, smog hovering over foamy sea. Of blocky apartment buildings facing the coast, topped with white water tanks crowded together like flocks of squat storks. Of palm trees and pine trees and electric wires, twisting green and black toward the chalky beachfront and rows of factory smokestacks. The way you put it once, Laith, your voice warped to mimic a radio announcer: 'Welcome to Haifa: you may die an early and also agonizing carcinogenic death, but at least you'll have a killer view from your hospital room.

The moon rises. The red cubs rolling In the ferns by the rotten oak Stare over a marsh and a meadow To the farm's white wisp of smoke. A spark burns, high in heaven. Deer thread the blossoming rows Of the old orchard, rabbits Hop by the well-curb. The cock crows From the tree by the widow's walk; Two stars in the trees to the west, Are snared, and an owl's soft cry Runs like a breath through the forest. Here too, though death is hushed, though joy Obscures, like night, their wars, The beings of this world are swept By the Strife that moves the stars.

Funnel The family story tells, and it was told true, of my great-grandfather who begat eight genius children and bought twelve almost-new grand pianos. He left a considerable estate when he died. The children honored their separate arts; two became moderately famous, three married and fattened their delicate share of wealth and brilliance. The sixth one was a concert pianist. She had a notable career and wore cropped hair and walked like a man, or so I heard when prying a childhood car into the hushed talk of the straight Maine clan. One died a pinafore child, she stays her five years forever. And here is one that wrote- I sort his odd books and wonder his once alive words and scratch out my short marginal notes and finger my accounts. back from that great-grandfather I have come to tidy a country graveyard for his sake, to chat with the custodian under a yearly sun and touch a ghost sound where it lies awake. I like best to think of that Bunyan man slapping his thighs and trading the yankee sale for one dozen grand pianos. it fit his plan of culture to do it big. On this same scale he built seven arking houses and they still stand. One, five stories up, straight up like a square box, still dominates its coastal edge of land. It is rented cheap in the summer musted air to sneaker-footed families who pad through its rooms and sometimes finger the yellow keys of an old piano that wheezes bells of mildew. Like a shoe factory amid the spruce trees it squats; flat roof and rows of windows spying through the mist. Where those eight children danced their starfished summers, the thirty-six pines sighing, that bearded man walked giant steps and chanced his gifts in numbers. Back from that great-grandfather I have come to puzzle a bending gravestone for his sake, to question this diminishing and feed a minimum of children their careful slice of suburban cake.

Essex raised its ugly head. When i was a scholarship boy at the local grammar, son of a city-hall toiler on the make, this country was synonymous with liberty, success, and Cambridge. Now look at it. Shopping malls and housing estates pursue their creeping invasion of our ancient land. A North Sea wind snatched frilly clouds in its teeth and scarpered off to the midlands. The countryside proper began at last. My mother had a cousin out here, her family had a big house. I think they moved to Winnipeg for a better life. There! There, in the shadow of that DIY warehouse, once stood a row of walnut trees where me and Pip Oakes - a childhood chum who died aged thirteen under the wheels of an oil tanker - varnished a canoe one summer and sailed it alone the Say. Sticklebacks in jars,. There, right there, around that bend we lit a fire and cooked beans and potatoes wrapped in silver foil! Come back, oh, come back! Is one glimpse all I get?

Now don't, please, be quite so single-minded, self-involved, or assume the world is wrong and you are right. Whoever thinks that he alone possesses intelligence, the gift of eloquence, he and no one else, and character too . . . such men, I tell you, spread them open--you will find them empty. No, it's no disgrace for a man, even a wise man, to learn many things and not to be too rigid. You've seen trees by a raging winter torrent, how many sway with the flood and salvage every twig, but not the stubborn--they're ripped out, roots and all. Bend or break. The same when a man is sailing: haul your sheets too taut, never give an inch, you'll capsize, and go the rest of the voyage keep up and the rowing-benches under. Oh give way. Relax your anger--change! I'm young, I know, but let me offer this: it would be best by far, I admit, if a man were born infallible, right by nature. If not--and things don't often go that way, it's best to learn from those with good advice.

Ah!” Marie finally exclaimed. “Ah! Dear Father! Who owns that darling little man over on the tree there?” “He,” the father answered. “He, dear child, should work hard for all of us. He should crack the hard nuts for us nicely. And he should belong to Luise as much as he belongs to you and to Fritz.” The father then removed him cautiously from the table and, raising the wooden cape aloft, the manikin opened his mouth wide, wide, and showed two rows of very sharp, very tiny white teeth. When told to do so, Marie inserted a nut and—Crack! Crack!—he chewed up the nut, so that the shell dropped away, and the sweet kernel itself ended up in Marie’s hand. By now, everyone, including Marie, had to know that the dainty little man was an offspring of the dynasty of Nutcrackers and was practicing his profession. She shouted for joy, but then her father spoke: “Since, dear Marie, you love Friend Nutcracker so much, you must shield and shelter him especially, even despite the fact that, as I have said, Luise and Fritz have as much right to use him as you!

He’d been spending more time in the past lately. He liked to close his eyes and let his memories overtake him. A life, remembered, is a series of photographs and disconnected short films: the school play when he was nine, his father beaming in the front row; clubbing with Arthur in Toronto, under whirling lights; a lecture hall at NYU. An executive, a client, running his hands through his hair as he talked about his terrible boss. A procession of lovers, remembered in details: a set of dark blue sheets, a perfect cup of tea, a pair of sunglasses, a smile. The Brazilian pepper tree in a friend’s backyard in Silver Lake. A bouquet of tiger lilies on a desk. Robert's smile. His mother's hands, knitting while she listened to the BBC.

Above the engine two vivid blurs of blue light formed incessantly a radiant crackling bar between them, which, like a spluttering flame in a lamp beside a corpse, lit for an instant the successive rows of trees and caused Gloria to draw back instinctively to the far side of the road. The light was tepid, the temperature of warm blood…. The clicking blended suddenly with itself in a rush of even sound, and then, elongating in sombre elasticity, the thing roared blindly by her and thundered onto the bridge, racing the lurid shaft of fire it cast into the solemn river alongside. Then it contracted swiftly, sucking in its sound until it left only a reverberant echo, which died upon the farther bank. Silence crept down again over the wet country;

You walk down a hallway papered in playing cards, row upon row of clubs and spades. Lanterns fashioned from additional cards hang above, swinging gently as you pass by. A door at the end of the hall leads to a spiraling iron staircase. The stairs go both up and down. You go up, finding a trapdoor in the ceiling. The room it opens into is full of feathers that flutter downward. When you walk through them, they fall like snow over the door in the floor, obscuring it from sight. There are six identical doors. You choose one at random, trailing a few feathers with you. The scent of pine is overwhelming as you enter the next room to find yourself in a forest full of evergreen trees. Only these trees are not green but bright and white, luminous in the darkness surrounding them. They are difficult to navigate. As soon as you begin walking the walls are lost in shadows and branches. There is a sound like a woman laughing nearby, or perhaps it is only the rustling of the trees as you push your way forward, searching for the next door, the next room. You feel the warmth of breath on your neck, but when you turn there is no one there.

There is an entire orchard. Hidden, tucked away. Rows and rows of magical, uncharted trees. Doorways into old, long forgotten towns. Father Time. Old Man Winter. The Tooth Fairy. Multitudes of worlds, places we never knew existed. I smile, and Jack pulls me to him. A queen, and her king. And I know, with a certainty that is knitted in my linen bones, we will spend a lifetime---Jack and I, side by side---slipping through doorways that lead to other doorways, carved into ancient, gnarled trees. Lands to explore, adventures to be had. But always together. Because there is nothing quite so wasted as a life unlived. And I intend to live mine. Fully. Unbound by the rules of others. Queen or not, we all deserve these things. Freedom. Hope. A chance to find out who we really are.

What are you?' She asked. He shot her a brief glance and looked away. He stared at the scenery of the pastures and distant rows of trees. She knew he was not going to answer the question. In the brightening daylight, she could see that most of the blood on him was restricted to his mouth and hands. It dawned on her that it wasn't his blood, but the blood of something he had caught and eaten.

And there were so many places to go. Thickets of bramble. Fallen trees. Ferns, and violets, and gorse, paths all lined with soft green moss. And in the very heart of the wood, there was a clearing, with a circle of stones, and an old well in the middle, next to a big dead oak tree, and everything- fallen branches, standing stones, even the well, with its rusty pump- draped and festooned and piled knee-high with ruffles and flounces of strawberries, with blackbirds picking over the fruit, and the scent like all of summer. It wasn't like the rest of the farm. Narcisse's farm is very neat, with everything set out in its place. A little field for sunflowers: one for cabbages; one for squash; one for Jerusalem artichokes. Apple trees to one side; peaches and plums to the other. And in the polytunnels, there were daffodils, tulips, freesias; and in season, lettuce, tomatoes, beans. All neatly planted, in rows, with nets to keep the birds from stealing them. But here there were no nets, or polytunnels, or windmills to frighten away the birds. Just that clearing of strawberries, and the old well in the circle of stones. There was no bucket in the well. Just the broken pump, and the trough, and a grate to cover the hole, which was very deep, and not quite straight, and filled with ferns and that swampy smell. And if you put your eye to the grate, you could see a roundel of sky reflected in the water, and little pink flowers growing out from between the cracks in the old stone. And there was a kind of draught coming up from under the ground, as if something was hiding there and breathing, very quietly.

THE BOTTOMS" succeeded to "Hell Row". Hell Row was a block of thatched, bulging cottages that stood by the brookside on Greenhill Lane. There lived the colliers who worked in the little gin-pits two fields away. The brook ran under the alder trees, scarcely soiled by these small mines, whose coal was drawn to the surface by donkeys that plodded wearily in a circle round a gin. And all over the countryside were these same pits, some of which had been worked in the time of Charles II, the few colliers and the donkeys burrowing down like ants into the earth, making queer mounds and little black places among the corn-fields and the meadows. And the cottages of these coal-miners, in blocks and pairs here and there, together with odd farms and homes of the stockingers, straying over the parish, formed the village of Bestwood.

JAMES HALE sat at a side-street noodle-stall. The stall was set-up underneath the shade of a row of fruit trees. He watched a pair of pigeons courting beneath a fig tree. The male’s tail feathers were pushed up in self-promotion and his plumage was arrogantly puffed up. He danced his elaborate dance of love. The female didn’t look impressed. She turned her back to him. Birds were like gangster rappers, Hale thought. They sang songs about how tough they were and how many other birds they’d nested. They were egomaniacs with inferiority complexes. Posers in a leafy street. The bastards flew at the first sign of danger. They couldn’t make it on the ground. Hale hated birds with their merry chirps and their flimsy nests. Tweet. Tweet. Fucking. Tweet. The only thing Hale admired about them was the fact that they could fly. That would be cool. Right now, flying would be good.

I did become homesick, and whenever that happened, I'd hide away in the school library, where the books filled rows and rows of shelves. I'd find a chair and study my lesson books in geography, social studies, biology, and math. I'd lose myself in American and African history, and within the colorful maps of the world. No matter how foreign and lonely the world was outside, the books always reminded me of home, sitting under the mango tree.

His wings burned and he felt ashamed. This life in Italy had been a dark and ugly death for her. One of the worst. He would never stop blaming himself for the horrible way she had passed out of this life. But that was years after where Daniel stood today. This was the hospital where they'd first met, when Lucia was so young and lovely, innocent and saucy in the same breath. Here she had loved him instantly and completely. Though she was too young for Daniel to show he loved her back,he had never discouraged her affection. She used to slip her hand inside his when they strolled under the orange trees on the Piazza della Repubblica,but when he squeezed her hand,she would blush.It always made him laugh,the way she could be so bold, then suddenly turn shy.She used to tell him that she wanted to marry him someday. "You're back!" Daniel spun around. He hadn't heard the door behind him opening. Lucia jumped when she saw him. She was beaming, showing a perfect row of tiny white teeth. Her beauty took his breath away. What did she mean,he was back? Ah, this was when he'd hidden from Luce,frightened of killing her by accident. He was not allowed to reveal anything to her; she had to discover the details for herself. Was he even to hint broadly,she would simply combust. Had he stayed,she might have grilled him and perhaps forced the truth out of him...He didn't dare.

I shook with cold and fear, without being able to answer. After a lapse of some moments, I was again called. I made an effort to speak, and then felt the bandage which wrapped me from head to foot. It was my shroud. At last, I managed feebly to articulate, 'Who calls?' 'Tis I' said a voice. 'Who art thou?' 'I! I! I!' was the answer; and the voice grew weaker, as if it was lost in the distance; or as if it was but the icy rustle of the trees. A third time my name sounded on my ears; but now it seemed to run from tree to tree, as if it whistled in each dead branch; so that the entire cemetery repeated it with a dull sound. Then I heard a noise of wings, as if my name, pronounced in the silence, had suddenly awakened a troop of nightbirds. My hands, as if by some mysterious power, sought my face. In silence I undid the shroud which bound me, and tried to see. It seemed as if I had awakened from a long sleep. I was cold. I then recalled the dread fear which oppressed me, and the mournful images by which I was surrounded. The trees had no longer any leaves upon them, and seemed to stretch forth their bare branches like huge spectres! A single ray of moonlight which shone forth, showed me a long row of tombs, forming an horizon around me, and seeming like the steps which might lead to Heaven. All the vague voices of the night, which seemed to preside at my awakening, were full of terror. ("The Dead Man's Story")

The Night-Swans by Walter De la Mare 'Tis silence on the enchanted lake, And silence in the air serene, Save for the beating of her heart, The lovely-eyed Evangeline. She sings across the waters clear And dark with trees and stars between, The notes her fairy godmother Taught her, the child Evangeline. As might the unrippled pool reply, Faltering an answer far and sweet, Three swans as white as mountain snow Swim mantling to her feet. And still upon the lake they stay, Their eyes black stars in all their snow, And softly, in the glassy pool, Their feet beat darkly to and fro. She rides upon her little boat, Her swans swim through the starry sheen, Rowing her into Fairyland-- The lovely-eyed Evangeline. 'Tis silence on the enchanted lake, And silence in the air serene; Voices shall call in vain again On earth the child Evangeline. 'Evangeline! Evangeline!' Upstairs, downstairs, all in vain. Her room is dim; her flowers faded; She answers not again.

Dividing the upland into two there marched a double line of unshaped standing stones that dwindled into the dusk and vanished in the trees. Those who dared to follow that road came soon to the black Dimholt under Dwimorberg, and the menace of the pillar of stone, and the yawning shadow of the forbidden door. Such was the dark Dunharrow, the work of long-forgotten men. Their name was lost and no song or legend remembered it. For what purpose they had made this place, as a town or secret temple or a tomb of kings, none in Rohan could say. Here they laboured in the Dark Years, before ever a ship came to the western shores, or Gondor of the Dúnedain was built; and now they had vanished, and only the old Púkel-men were left, still sitting at the turnings of the road. Merry stared at the lines of marching stones: they were worn and black; some were leaning, some were fallen, some cracked or broken; they looked like rows of old and hungry teeth. He wondered what they could be, and he hoped that the king was

Thus it can be said that, until the fifteenth century, Black Africa never lost its civilization. Frobenius reports: Not that the first European navigators at the end of the Middle Ages failed to make some very remarkable observations. When they reached the Bay of Guinea and alighted at Vaida, the captains were astonished to find well-planned streets bordered for several leagues by two rows of trees; for days they traversed a countryside covered by magnificent fields, inhabited by men in colorful attire that they had woven themselves! More to the south, in the Kingdom of the Congo, a teeming crowd clad in silk and velvet, large States, well ordered down to the smallest detail, powerful rulers, prosperous industries. Civilized to the marrow of their bones! Entirely similar was the condition of the lands on the east coast, Mozambique, for example. The revelations of the navigators from the fifteenth to the eighteenth centuries provide positive proof that Black Africa, which extended south of the desert zone of the Sahara, was still in full bloom, in all the splendor of harmonious, well-organized civilizations. This flowering the European conquistadors destroyed as they advanced.

As he breathed the black and grey air into his body he no longer thought of anything as lovely, the way the retiring trees of his boyhood had been; for everything was made up of dirt-clods; and you do construct a mountain from molehills or other over-codified facts. If only the cities had been dynamited before it was too late for him! -- That Pol Pot sure had the right idea, blowing down those ticky-tacky rice paper offices and illuminating the middlemen with bullets of vanguardist light so everyone could get back to the country, don’t you think? -- As things stood, even had Bug been able to cover the earth again with forests, after having lived so long in the excremental piles of cement and rusted steel he never could have seen trees as more than tedious identical dirty giant toothpicks unfit to be taken into the mouth’ his summer camp, as a dishwasher jail where you breathed in the steam of bad food; and the islands to which he had rowed, as sad unwholesome protuberances, polyps and land-cancers still in the stink of the outhouse -- and all the girls had long since grown up completely to make travesties of their lives, even though some inherited great riches as we used to reckon riches in those days. -- But surely this change in him was necessary, for without wretchedness and degradation of self one will never accomplish anything.

A Rakshasi did not live here. A princess did. I was staring into the most dazzling garden I had ever seen. Cobblestone pathways meandered between rows of salmon-hued hibiscus, regal hollyhock, delicate impatiens, wild orchids, thorny rosebushes, and manicured shrubs starred with jasmine. Bunches of bougainvillea cascaded down the sides of the wall, draped across the stone like extravagant shawls. Magnolia trees, cotton-candy pink, were interspersed with coconut trees, which let in streaks of purplish light through their fanlike leaves. A rock-rimmed pond glistened in a corner of the garden, and lotus blossoms sprouting from green discs skimmed its surface. A snow white bird that looked like a peacock wove in and out through a grove of pomegranate trees, which were set aflame by clusters of deep orange blossoms. I had seen blue peacocks before, but never a white one. An Ashoka tree stood at one edge of the garden, as if on guard, near the door. A brief wind sent a cluster of red petals drifting down from its branches and settling on the ground at my feet. A flock of pale blue butterflies emerged from a bed of golden trumpet flowers and sailed up into the sky. In the center of this scene was a peach stucco cottage with green shutters and a thatched roof, quaint and idyllic as a dollhouse. A heavenly perfume drifted over the wall, intoxicating me- I wanted nothing more than to enter.

When Sally stopped crying, she found herself alone, the cold draft of the window at her neck, and on both sides, the rows of doors went on and on, diminishing to nothing, the end. 'What fun it is to ride and sing a sleighing song tonight, oh.' What glories. Mathilde came. And though she appeared to be the... same sweet girl Sally had been afraid of, she was not. Sally saw the flint in her. Mathilde can save Lotto from his own laziness, Sally thought. But here they were, a year later, and he was still ordinary. The chorus caught in her throat. A stranger hurrying as fast as he could over the icy sidewalks looked in. He saw a circle of singing people bathed in the clean, white light from a tree, and his heart did a soumersault. And the image stayed with him, it merged with him even as he came home to his own children, who were already asleep in their beds, to his wife crossly putting together the tricycle without the screwdriver he'd run out to borrow. It remained long after his children ripped open their gifts and abandoned their toys and puddles of paper and grew too old for them and left their house and parents and childhoods, so that he and his wife gaped at each other in bewilderment as to how it had happened so terribly swiftly. All those years, the singers in the soft light in the basement apartment crystalized in his mind, became the very idea of what happiness should look like.

Have you ever been in a place where history becomes tangible? Where you stand motionless, feeling time and importance press around you, press into you? That was how I felt the first time I stood in the astronaut garden at OCA PNW. Is it still there? Do you know it? Every OCA campus had – has, please let it be has – one: a circular enclave, walled by smooth white stone that towered up and up until it abruptly cut off, definitive as the end of an atmosphere, making room for the sky above. Stretching up from the ground, standing in neat rows and with an equally neat carpet of microclover in between, were trees, one for every person who’d taken a trip off Earth on an OCA rocket. It didn’t matter where you from, where you trained, where your spacecraft launched. When someone went up, every OCA campus planted a sapling. The trees are an awesome sight, but bear in mind: the forest above is not the garden’s entry point. You enter from underground. I remember walking through a short tunnel and into a low-lit domed chamber that possessed nothing but a spiral staircase leading upward. The walls were made of thick glass, and behind it was the dense network you find below every forest. Roots interlocking like fingers, with gossamer fungus sprawled symbiotically between, allowing for the peaceful exchange of carbon and nutrients. Worms traversed roads of their own making. Pockets of water and pebbles decorated the scene. This is what a forest is, after all. Don’t believe the lie of individual trees, each a monument to its own self-made success. A forest is an interdependent community. Resources are shared, and life in isolation is a death sentence. As I stood contemplating the roots, a hidden timer triggered, and the lights faded out. My breath went with it. The glass was etched with some kind of luminescent colourant, invisible when the lights were on, but glowing boldly in the dark. I moved closer, and I saw names – thousands upon thousands of names, printed as small as possible. I understood what I was seeing without being told. The idea behind Open Cluster Astronautics was simple: citizen-funded spaceflight. Exploration for exploration’s sake. Apolitical, international, non-profit. Donations accepted from anyone, with no kickbacks or concessions or promises of anything beyond a fervent attempt to bring astronauts back from extinction. It began in a post thread kicked off in 2052, a literal moonshot by a collective of frustrated friends from all corners – former thinkers for big names gone bankrupt, starry-eyed academics who wanted to do more than teach the past, government bureau members whose governments no longer existed. If you want to do good science with clean money and clean hands, they argued, if you want to keep the fire burning even as flags and logos came down, if you understand that space exploration is best when it’s done in the name of the people, then the people are the ones who have to make it happen.

is something a friend once told me. She said that every single one of us at birth is given an emotional acre all our own. You get one, your awful Uncle Phil gets one, I get one, Tricia Nixon gets one, everyone gets one. And as long as you don’t hurt anyone, you really get to do with your acre as you please. You can plant fruit trees or flowers or alphabetized rows of vegetables, or nothing at all. If you want your acre to look like a giant garage sale, or an auto-wrecking yard, that’s what you get to do with it. There’s a fence around your acre, though, with a gate, and if people keep coming onto your land and sliming it or trying to get you to do what they think is right, you get to ask them to leave. And they have to go, because this is your acre.

When it passes us, the driver tips his cap our way, eying us as if he thinks we're up to no good-the kind of no good he might call the cops on. I wave to him and smile, wondering if I look as guilty as I feel. Better make this the quickest lesson in driving history. It's not like she needs to pass the state exam. If she can keep the car straight for ten seconds in a row, I've upheld my end of the deal. I turn off the ignition and look at her. "So, how are you and Toraf doing?" She cocks her head at me. "What does that have to do with driving?" Aside from delaying it? "Nothing," I say, shrugging. "Just wondering." She pulls down the visor and flips open the mirror. Using her index finger, she unsmudges the mascara Rachel put on her. "Not that it's your business, but we're fine. We were always fine." "He didn't seem to think so." She shoots me a look. "He can be oversensitive sometimes. I explained that to him." Oversensitive? No way. She's not getting off that easy. "He's a good kisser," I tell her, bracing myself. She turns in her seat, eyes narrowed to slits. "You might as well forget about that kiss, Emma. He's mine, and if you put your nasty Half-Breed lips on him again-" "Now who's being oversensitive?" I say, grinning. She does love him. "Switch places with me," she snarls. But I'm too happy for Toraf to return the animosity. Once she's in the driver's seat, her attitude changes. She bounces up and down like she's mattress shopping, getting so much air that she'd puncture the top if I hadn't put it down already. She reaches for the keys in the ignition. I grab her hand. "Nope. Buckle up first." It's almost cliché for her to roll her eyes now, but she does. When she's finished dramatizing the act of buckling her seat belt-complete with tugging on it to make sure it won't unclick-she turns to me in pouty expectation. I nod. She wrenches the key and the engine fires up. The distant look in her eyes makes me nervous. Or maybe it's the guilt swirling around in my stomach. Galen might not like this car, but it still feels like sacrilege to put the fate of a BMW in Rayna's novice hands. As she grips the gear stick so hard her knuckles turn white, I thank God this is an automatic. "D is for drive, right?" she says. "Yes. The right pedal is to go. The left pedal is to stop. You have to step on the left one to change into drive." "I know. I saw you do it." She mashes down on the brake, then throws us into drive. But we don't move. "Okay, now you'll want to step on the right pedal, which is the gas-" The tires start spinning-and so do we. Rayna stares at me wide-eyed and mouth ajar, which isn't a good thing since her hands are on the wheel. It occurs to me that she's screaming, but I can't hear her over my own screeching. The dust wall we've created whirls around us, blocking our view of the trees and the road and life as we knew it. "Take your foot off the right one!" I yell. We stop so hard my teeth feel rattled. "Are you trying to get us killed?" she howls, holding her hand to her cheek as if I've slapped her. Her eyes are wild and glassy; she just might cry. "Are you freaking kidding me? You're the one driving!

I will not mention the name (and what bits of it I happen to give here appear in decorous disguise) of that man, that Franco-Hungarian writer... I would rather not dwell upon him at all, but I cannot help it— he is surging up from under my pen. Today one does not hear much about him; and this is good, for it proves that I was right in resisting his evil spell, right in experiencing a creepy chill down my spine whenever this or that new book of his touched my hand. The fame of his likes circulates briskly but soon grows heavy and stale; and as for history it will limit his life story to the dash between two dates. Lean and arrogant, with some poisonous pun ever ready to fork out and quiver at you, and with a strange look of expectancy in his dull brown veiled eyes, this false wag had, I daresay, an irresistible effect on small rodents. Having mastered the art of verbal invention to perfection, he particularly prided himself on being a weaver of words, a title he valued higher than that of a writer; personally, I never could understand what was the good of thinking up books, of penning things that had not really happened in some way or other; and I remember once saying to him as I braved the mockery of his encouraging nods that, were I a writer, I should allow only my heart to have imagination, and for the rest rely upon memory, that long-drawn sunset shadow of one’s personal truth. I had known his books before I knew him; a faint disgust was already replacing the aesthetic pleasure which I had suffered his first novel to give me. At the beginning of his career, it had been possible perhaps to distinguish some human landscape, some old garden, some dream- familiar disposition of trees through the stained glass of his prodigious prose... but with every new book the tints grew still more dense, the gules and purpure still more ominous; and today one can no longer see anything at all through that blazoned, ghastly rich glass, and it seems that were one to break it, nothing but a perfectly black void would face one’s shivering soul. But how dangerous he was in his prime, what venom he squirted, with what whips he lashed when provoked! The tornado of his passing satire left a barren waste where felled oaks lay in a row, and the dust still twisted, and the unfortunate author of some adverse review, howling with pain, spun like a top in the dust.

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky-tonks, restaurants and whore-houses, and little crowded groceries, and laboratories and flop-houses. Its inhabitants are, as the man once said, "whores, pimps, gamblers, and sons of bitches," by which he meant Everybody. Had the man looked through another peep-hole he might have said: "Saints and angels and martyrs and holy men," and he would have meant the same thing. In the morning when the sardine fleet has made a catch, the purse-seiners waddle heavily into the bay blowing their whistles. The deep-laden boats pull in against the coast where the canneries dip their tails into the bay. The figure is advisedly chosen, for if the canneries dipped their mouths into the bay the canned sardines which emerge from the other end would be metaphorically, at least, even more horrifying. Then cannery whistles scream and all over the town men and women scramble into their clothes and come running down to the Row to go to work. Then shining cars bring the upper classes down: superintendents, accountants, owners who disappear into offices. Then from the town pour Wops and Chinamen and Polaks, men and women in trousers and rubber coats and oilcloth aprons. They come running to clean and cut and pack and cook and can the fish. The whole street rumbles and groans and screams and rattles while the silver rivers of fish pour in out of the boats and the boats rise higher and higher in the water until they are empty. The canneries rumble and rattle and squeak until the last fish is cleaned and cut and cooked and canned and then the whistles scream again and the dripping, smelly, tired Wops and Chinamen and Polaks, men and women, straggle out and droop their ways up the hill into the town and Cannery Row becomes itself again-quiet and magical. Its normal life returns. The bums who retired in disgust under the black cypress-tree come out to sit on the rusty pipes in the vacant lot. The girls from Dora's emerge for a bit of sun if there is any. Doc strolls from the Western Biological Laboratory and crosses the street to Lee Chong's grocery for two quarts of beer. Henri the painter noses like an Airedale through the junk in the grass-grown lot for some pan or piece of wood or metal he needs for the boat he is building. Then the darkness edges in and the street light comes on in front of Dora's-- the lamp which makes perpetual moonlight in Cannery Row. Callers arrive at Western Biological to see Doc, and he crosses the street to Lee Chong's for five quarts of beer. How can the poem and the stink and the grating noise-- the quality of light, the tone, the habit and the dream-- be set down alive? When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will on to a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book-- to open the page and to let the stories crawl in by themselves.

My eye keeps escaping towards the big blue lacquered door that I've had painted in a trompe-l'oeil on the back wall. I would like to call Mrs. Cohen back and tell her there's no problem for her son's bar mitzvah, everything's ready: I would like to go through that door and disappear into the garden my mind's eye has painted behind it. The grass there is soft and sweet, there are bulrushes bowing along the banks of a river. I put lime trees in it, hornbeams, weeping elms, blossoming cherries and liquidambars. I plant it with ancient roses, daffodils, dahlias with their melancholy heavy heads, and flowerbeds of forget-me-nots. Pimpernels, armed with all the courage peculiar to such tiny entities, follow the twists and turns between the stones of a rockery. Triumphant artichokes raise their astonished arrows towards the sky. Apple trees and lilacs blossom at the same time as hellebores and winter magnolias. My garden knows no seasons. It is both hot and cool. Frost goes hand in hand with a shimmering heat haze. The leaves fall and grow again. row and fall again. Wisteria climbs voraciously over tumbledown walls and ancient porches leading to a boxwood alley with a poignant fragrance. The heady smell of fruit hangs in the air. Huge peaches, chubby-cheeked apricots, jewel-like cherries, redcurrants, raspberries, spanking red tomatoes and bristly cardoons feast on sunlight and water, because between the sunbeams it rains in rainbow-colored droplets. At the very end, beyond a painted wooden fence, is a woodland path strewn with brown leaves, protected from the heat of the skies by a wide parasol of foliage fluttering in the breeze. You can't see the end of it, just keep walking, and breathe.

I took my solo and beat hell out of the skins. Then Spoof swiped at his mouth and let go with a blast and moved it up into that squeal and stopped and started playing. It was all headwork. All new to us. New to anybody. I saw Sonny get a look on his face, and we sat still and listened while Spoof made love to that horn. Now like a scream, now like a laugh - now we're swinging in the trees, now the white men are coming, now we're in the boat and chains are hanging from our ankles and we're rowing, rowing - Spoof, what is it? - now we're sawing wood and picking cotton and serving up those cool cool drinks to the Colonel in his chair - Well, blow, man! - now we're free, and we're struttin' down Lenox Avenue and State & Madison and Pirate's Alley, laughing, crying - Who said free? - and we want to go back and we don't want to go back - Play it, Spoof! God, God, tell us all about it! Talk to us! - and we're sitting in a cellar with a comb wrapped up in paper, with a skin-barrel and a tinklebox - Don't stop, Spoof! Oh Lord, please don't stop! - and we're making something, something, what is it? Is it jazz? Why, yes, Lord, it's jazz. Thank you, sir, and thank you, sir, we finally got it, something that is ours, something great that belongs to us and to us alone, that we made, and that's why it's important and that's what it's all about and - Spoof! Spoof, you can;t stop now -- But it was over, middle of the trip. And there was Spoof standing there facing us and tears streaming out of those eyes and down over that coaldust face, and his body shaking and shaking. It's the first we ever saw that. It's the first we ever heard him cough, too - like a shotgun going off every two seconds, big raking sounds that tore up from the bottom of his belly and spilled out wet and loud. ("Black Country")

IT is not impossible that among the English readers of this book there may be one who in 1915 and 1916 was in one of those trenches that were woven like a web among the ruins of Monchy-au-Bois. In that case he had opposite him at that time the 73rd Hanoverian Fusiliers, who wear as their distinctive badge a brassard with ' Gibraltar ' inscribed on it in gold, in memory of the defence of that fortress under General Elliot; for this, besides Waterloo, has its place in the regiment's history. At the time I refer to I was a nineteen-year-old lieutenant in command of a platoon, and my part of the line was easily recognizable from the English side by a row of tall shell-stripped trees that rose from the ruins of Monchy. My left flank was bounded by the sunken road leading to Berles-au-Bois, which was in the hands of the English ; my right was marked by a sap running out from our lines, one that helped us many a time to make our presence felt by means of bombs and rifle-grenades. I daresay this reader remembers, too, the white tom-cat, lamed in one foot by a stray bullet, who had his headquarters in No-man's-land. He used often to pay me a visit at night in my dugout. This creature, the sole living being that was on visiting terms with both sides, always made on me an impression of extreme mystery. This charm of mystery which lay over all that belonged to the other side, to that danger zone full of unseen figures, is one of the strongest impressions that the war has left with me. At that time, before the battle of the Somme, which opened a new chapter in the history of the war, the struggle had not taken on that grim and mathematical aspect which cast over its landscapes a deeper and deeper gloom. There was more rest for the soldier than in the later years when he was thrown into one murderous battle after another ; and so it is that many of those days come back to my memory now with a light on them that is almost peaceful.

Accordingly tree trunks or very stout boughs were cut and their tops stripped of bark and sharpened; they were then fixed in long trenches dug five feet deep, with their lower ends made fast to one another to prevent their being pulled up and the branches projecting. There were five rows in each trench, touching one another and interlaced, and anyone who went among them was likely to impale himself on the sharp points. The soldiers called them boundary posts. In front of them, arranged in diagonal rows forming quincunxes, were pits three feet deep, tapering gradually towards the bottom, in which were embedded smooth logs as thick as a man’s thigh, with the ends sharpened and charred, and projecting only three inches above ground. To keep the logs firmly in position, earth was thrown into the pits and trodden down to a depth of one foot, the rest of the cavity being filled with twigs and brushwood to hide the trap. These were planted in groups, each containing eight rows three feet apart, and they were nicknamed lilies from their resemblance to that flower. In front of these again were blocks of wood a foot long with iron hooks fixed in them, called goads by the soldiers. These were sunk right into the ground and strewn thickly everywhere.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep blank space high up above many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of dots. At length I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at that very moment with great emotion, in intricate, detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which wholly worlds of feeling and energy were wrapped in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water. I saw white-faced cattle lowing and wading in creeks. I saw May apples in forests, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided, and apples grew spotted and striped in the fall. Mountains kept their cool caves and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wild ducks flew with outstretched necks, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remember the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “yes, that’s how it was then, that part there was called France.” I was filled with the deep affection of nostalgia- and then I opened my eyes. We all ought to be able to conjure up sights like these at will, so that we can keep in mind the scope of texture’s motion in time.