Sand Shells Quotes

Find a woman who makes you feel more alive. She won't make life perfect but she'll make it infinitely more interesting. And then love her with all that's in you.

One of the penalties of an ecological education is that one lives alone in a world of wounds. Much of the damage inflicted on land is quite invisible to laymen. An ecologist must either harden his shell and make believe that the consequences of science are none of his business, or he must be the doctor who sees the marks of death in a community that believes itself well and does not want to be told otherwise.

The Shell The sea fills my ear with sand and with fear. You may wash out the sand, but never the sound of the ghost of the sea that is haunting me.

each man must realize that it can all disappear very quickly: the cat, the woman, the job, the front tire, the bed, the walls, the room; all our necessities including love, rest on foundations of sand — and any given cause, no matter how unrelated: the death of a boy in Hong Kong or a blizzard in Omaha . . . can serve as your undoing. all your chinaware crashing to the kitchen floor, your girl will enter and you'll be standing, drunk, in the center of it and she'll ask: my god, what's the matter? and you'll answer: I don't know, I don't know . . . — PULL A STRING, A PUPPET MOVES . . .

We are like children building a sand castle. We embellish it with beautiful shells, bits of driftwood, and pieces of colored glass. The castle is ours, off limits to others. We’re willing to attack if others threaten to hurt it. Yet despite all our attachment, we know that the tide will inevitably come in and sweep the sand castle away. The trick is to enjoy it fully but without clinging, and when the time comes, let it dissolve back into the sea.

When the war has lasted twenty years... the dragonets will come. When the land is soaked in blood and tears... the dragonets will come. Find the SeaWing egg of deepest blue. Wings of night shall come to you. The largest egg in mountain high will give to you the wings of sky. For wings of earth, search through the mud for an egg the color of dragon blood. And hidden alone from the rival queens, the SandWing egg awaits unseen. Of three queens who blister and blaze and burn, two shall die and one shall learn if she bows to a fate that is stronger and higher, she'll have the power of wings of fire. Five eggs to hatch on brightest night, five dragons born to end the fight. Darkness will rise to bring the light. The dragonets are coming....

...like a grain of sand that gets into an oyster's shell. What if the grain doesn't want to become a pearl? Is it ever asked to climb out quietly and take up its old position as a bit of ocean floor?

There is a curious thing that happens with the passage of time: a calcification of character... Change isn't always for the worst; the shell that forms around a piece of sand looks to some people like an irritation, and to others, like a pearl.

Change isn't always for the worst; the shell that forms around a piece of sand looks to some people like an irritation., and to others, like a pearl.

For I must wander On the deep sea bed Showering pearls on dead men Gathering shells And sweeping the shadows of passing boats With my falling hair Across the sliding sands into the mouth of hell

There was the same dazzling red glare. The sea gasped for air with each shallow, stifled wave that broke on the sand. ...with every blade of light that flashed off the sand, from a bleached shell or a peice of broken glass, my jaws tightened. I walked for a long time.

On the seashore of endless worlds children meet. The infinite sky is motionless overhead and the restless water is boisterous. On the seashore of endless worlds the children meet with shouts and dances. They build their houses with sand, and they play with empty shells. With withered leaves they weave their boats and smilingly float them on the vast deep. Children have their play on the seashore of worlds. They know not how to swim, they know not how to cast nets. Pearl-fishers dive for pearls, merchants sail in their ships, while children gather pebbles and scatter them again. They seek not for hidden treasures, they know not how to cast nets. The sea surges up with laughter, and pale gleams the smile of the sea-beach. Death-dealing waves sing meaningless ballads to the children, even like a mother while rocking her baby’s cradle. The sea plays with children, and pale gleams the smile of the sea-beach. On the seashore of endless worlds children meet. Tempest roams in the pathless sky, ships are wrecked in the trackless water, death is abroad and children play. On the seashore of endless worlds is the great meeting of children.

There was another pause and then Bastien clucked and snapped, "Dammit, Thomas! Inez is one of my best employees." He pulled the phone away from his ear to peer at it with disbelief, and then slapped it back to his head. "What the hell has that got to do with anything?" "Well, if you had to find your lifemate, couldn't it have been someone else's employee. I'm going to lose her now. She'll want to be with you and come to Canada and--

To be a pearl maker, your oyster needs a good strong shell to protect you from a hundred million irritants in your environment. Your shell helps you tell one grain of sand from the other. You know which one can become a pearl and which one isn't worth the irritation.

SEA OF LIFE This is not the end, my friend. Just as the ocean sings songs to infinity Our friendship too will flow onward Until the day one of us Turns and leaves And the seasons will turn too As our shells As they return back to sand And the tides that brought us Forth Will take us back Again. I will never leave you, my friend. Every time you see a wave rushing to Meet another, Two friends unite. Every time you see a wave crashing, Two friends depart. The journey will go on, my friend. Our memories are recorded In seashells To show and tell The lessons learned In these heavens and hells Part of this sea of life - And when the tide is right, We shall cross paths again When the ocean sings our song. Poetry by Suzy Kassem

[...]And his head is on fire with new things[...]he called himself the little blue hermit, scuttling across the sand in search of a new shell, but now he looks at the sky and knows that no shell will ever be big enough, ever.

He swam at my feet, Powerful arms in broad strokes Sweeping the sand. So I asked this man, What seas do you swim? And to this he answered, 'I have seen shells and the like On this desert floor, So I swim this land's memory Thus honouring its past,' Is the journey far, queried I. 'I cannot say,' he replied, 'For I shall drown long before I am done.' Sayings of the Fool Thenys Bule" Steven Erikson - Malazan Book of the Fallen 02 Deadhouse Gates

And then, some morning in the second week, the mind wakes, comes to life again. Not in a city sense—no—but beach-wise. It begins to drift, to play, to turn over in gentle careless rolls like those lazy waves on the beach. One never knows what chance treasures these easy unconscious rollers may toss up, on the smooth white sand of the conscious mind; what perfectly rounded stone, what rare shell from the ocean floor. Perhaps a channeled whelk, a moon shell, or even an argonaut.

Oh, her beauty--the tender maid! Its brilliance gives light like lamps to one travelling in the dark. She is a pearl hidden in a shell of hair as black as jet, A pearl for which Thought dives and remains unceasingly in the deeps of that ocean. He who looks upon her deems her to be a gazelle of the sand-hills, because of her shapely neck and the loveliness of her gestures.

As long as it's a regular day, not too rough to begin with, the ocean is pretty smooth once you make it out past the first set of waves. That's why people are afriad to swim in the ocean. They try to jump over those waves and get slammed down to the bottom and pulled across the sand like a piece of shell. You've got to go throught them, dive under just when they're rising up for you, set your direction, close your eyes, and just swim like hell. Once you get throught that, you'll find there isn't a better place for swimming because it's the ocean and it goes on forever. You don't have to see anyone if you don't want to. If you look out, away from the beach, it's easy to imagine that there's no one else but you in the whole world, you and maybe a couple of sea gulls.

I'll stay with you a little, my unforgettable delight, for as long as my arms and my hands and my lips remember you. I'll put my grief for you in a work that will endure and be worthy of you. I'll write your memory into an image of aching tenderness and sorrow. I'll stay here till this is done, then I too will go. This is how I will portray you, I'll trace your features on paper as the sea, after a fearful storm has churned it up, traces the form of the greatest, farthest-reaching wave on the sand. Seaweed, shells, cork, pebbles, the lightest, most imponderable things that it could lift from its bed, are cast up in a broken, sinuous line on the sand. This line endlessly stretching into the distance is the frontier of the highest tide. That was how life's storm cast you up on my shore, O my pride, that is how I'll portray you.

We all behave like Maxwell’s demon. Organisms organize. In everyday experience lies the reason sober physicists across two centuries kept this cartoon fantasy alive. We sort the mail, build sand castles, solve jigsaw puzzles, separate wheat from chaff, rearrange chess pieces, collect stamps, alphabetize books, create symmetry, compose sonnets and sonatas, and put our rooms in order, and all this we do requires no great energy, as long as we can apply intelligence. We propagate structure (not just we humans but we who are alive). We disturb the tendency toward equilibrium. It would be absurd to attempt a thermodynamic accounting for such processes, but it is not absurd to say we are reducing entropy, piece by piece. Bit by bit. The original demon, discerning one molecules at a time, distinguishing fast from slow, and operating his little gateway, is sometimes described as “superintelligent,” but compared to a real organism it is an idiot savant. Not only do living things lessen the disorder in their environments; they are in themselves, their skeletons and their flesh, vesicles and membranes, shells and carapaces, leaves and blossoms, circulatory systems and metabolic pathways - miracles of pattern and structure. It sometimes seems as if curbing entropy is our quixotic purpose in the universe.

In front of us, the ocean stretched for eternity. Around us, reggae mussy floated through the air. In our drying clothes and still-damp hair, we ate junk food and talked. At some point we finished and went for a long walk in the sand. We picked up shells, laughed, and talked. Before I knew it, the sun was going down and we went back to the van. We lay side by side, stretched out on the blanket. When the sun dropped completely below the horizon, we let the moon illuminate us.

the shell that forms around a piece of sand looks to some people like an irritation, and to others, like a pearl.

I bless these gifts from the sea, From sand to shell let it be.

Far out on the desert to the north dustspouts rose wobbling and augered the earth and some said they'd heard of pilgrims borne aloft like dervishes in those mindless coils to be dropped broken and bleeding upon the desert again and there perhaps to watch the thing that had destroyed them lurch onward like some drunken djinn and resolve itself once more into the elements from which it sprang. Out of that whirlwind no voice spoke and the pilgrim lying in his broken bones may cry out and in his anguish he may rage, but rage at what? And if the dried and blackened shell of him is found among the sands by travelers to come yet who can discover the engine of his ruin?

Someday I will pick up shells of every colour And probably even rob the sea of its wonder Yet I won't find a single piece That'd resemble the broken pieces I gathered years ago Thinking those grains of sand were whole

What an entirely lovely and spiteful creature she was, her mortal beginnings forgotten, the imprint of a shell in the sand long erased.

Change isn't always for the worst; the shell that forms around a piece of sand looks to some people like an irritation, and to others, like a pearl.

Change isn’t always for the worst; the shell that forms around a piece of sand looks to some people like an irritation, and to others, like a pearl.

Liberty On my notebooks from school On my desk and the trees On the sand, on the snow I write your name On every page read On all the white sheets Stone blood paper or ash I write your name On the golden images On the soldier’s weapons On the crowns of kings I write your name On the jungle, the desert The nests and the bushes On the echo of childhood I write your name On the wonder of nights On the white bread of days On the seasons engaged I write your name On all my blue rags On the pond mildewed sun On the lake living moon I write your name On the fields, the horizon The wings of the birds On the windmill of shadows I write your name On the foam of the clouds On the sweat of the storm On dark insipid rain I write your name On the glittering forms On the bells of colour On physical truth I write your name On the wakened paths On the opened ways On the scattered places I write your name On the lamp that gives light On the lamp that is drowned On my house reunited I write your name On the bisected fruit Of my mirror and room On my bed’s empty shell I write your name On my dog greedy tender On his listening ears On his awkward paws I write your name On the sill of my door On familiar things On the fire’s sacred stream I write your name On all flesh that’s in tune On the brows of my friends On each hand that extends I write your name On the glass of surprises On lips that attend High over the silence I write your name On my ravaged refuges On my fallen lighthouses On the walls of my boredom I write your name On passionless absence On naked solitude On the marches of death I write your name On health that’s regained On danger that’s past On hope without memories I write your name By the power of the word I regain my life I was born to know you And to name you LIBERTY

Venus Transiens" Tell me, Was Venus more beautiful Than you are, When she topped The crinkled waves, Drifting shoreward On her plaited shell? Was Botticelli’s vision Fairer than mine; And were the painted rosebuds He tossed his lady Of better worth Than the words I blow about you To cover your too great loveliness As with a gauze Of misted silver? For me, You stand poised In the blue and buoyant air, Cinctured by bright winds, Treading the sunlight. And the waves which precede you Ripple and stir The sands at my feet. Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

repatterns our brains and changes our biology; the new experience will reorganize the old programming, and in so doing, it will remove the neurological evidence of that past experience. (Think of how a bigger wave breaking farther up on the beach erases any sign of whatever shell, seaweed, sea foam, or sand pattern was there before.) Strong emotional experiences create long-term memories. So this new internal experience creates new long-term memories that override our past

I have hair that drifts like seaweed when I swim. I have eyes that shine like rock pools. My ears are like scallop shells. The ripples on my skin are like the ripples on the sand when the tide has turned back again. At night I gleam and glow like sea beneath the stars and moon. Thoughts dart and dance inside like little minnows in the shallows. They race and flash like mackerel farther out. My wonderings roll in the deep like sails. Dreams dive each night into the dark like dolphins do and break out happy and free into the morning light. These are the things I know about myself and that I see when I look in the rock pools at myself.

I breathe in... The sights and smells Of this city I’ve come to know... So well I gaze... Across the turquoise ocean Where the waves Liberate my spirit... From its shell I breathe in... The brilliant sky line Where the birds Emerge shyly From the dappled sunshine I breathe in... The gently... Blowing winds That soothe me Like a mother, around her child I breathe in... The sounds of laughter Pure and pretty Like the golden-green butterfly I’m always after I breathe in... The closeness, I have always shared With people, Who almost knew me, Almost cared I breathe in... The comfort Of my home, The safe walls, The scents of childhood On the pillows I breathe in...the silence Of my own heart Aching with tenderness... With memories.. Of home I breathe... in... The fragrance Of love, and moist sand The one... His roses left... On both my hands And I just keep on breathing Every moment As much as I can Preserving it, in my body For the day It can’t So I breathe in.. Once again.. Feeling life's energy Fizzing through my cells Never knowing What awaits me Or what's going to happen to me.. Next I breathe in This moment... Knowing it's either life Or it's death I close my eyes, And breathe in Just believing in myself.

When the water drains from the marshes, and little by little the yellow sands appear, rippling and hard and firm, it seems to my foolish fancy, as I lie here, that I too go seaward with the tide, and all my old hidden dreams that I thought buried for all time are bare and naked to the day, just as the shells and the stones are on the sands.

It's bright pinky-white sand was made entirely of shell dust, like star dust, among which, if you sifted it with your fingers, were infant shells as small as the grains but perfectly shaped. Scattered over the surface were larger shells of many kinds and shapes, some as delicate as flower petals, others, though small, built to withstand any battering sea.

...when she thought her heart might pulverize like a shell into sand, I will find a way to keep going, no matter what happens.

And if the dried and blackened shell of him is found among the sands by travelers to come yet who can discover the engine of his ruin?

There’s always something to do. Especially if you love the sand and surf like I do. When there are no waves or when I am done surfing I like to pick shells

Beneath his feet the snail kept on, feeling its way forward, dragging the house of its shell, fitting its body to the sand, to the private unlit horizons that whorled all around it.

Out of that whirlwind no voice spoke and the pilgrim lying in his broken bones may cry out and in his anguish he may rage, but rage at what? And if the dried and blackened shell of him is found among the sands by travelers to come yet who can discover the engine of his ruin?

Sea Longing" A thousand miles beyond this sun-steeped wall Somewhere the waves creep cool along the sand, The ebbing tide forsakes the listless land With the old murmur, long and musical; The windy waves mount up and curve and fall, And round the rocks the foam blows up like snow,-- Tho' I am inland far, I hear and know, For I was born the sea's eternal thrall. I would that I were there and over me The cold insistence of the tide would roll, Quenching this burning thing men call the soul,-- Then with the ebbing I should drift and be Less than the smallest shell along the shoal, Less than the sea-gulls calling to the sea.

There was a man whom Sorrow named his Friend, And he, of his high comrade Sorrow dreaming, Went walking with slow steps along the gleaming And humming Sands, where windy surges wend: And he called loudly to the stars to bend From their pale thrones and comfort him, but they Among themselves laugh on and sing alway: And then the man whom Sorrow named his friend Cried out, Dim sea, hear my most piteous story.! The sea Swept on and cried her old cry still, Rolling along in dreams from hill to hill. He fled the persecution of her glory And, in a far-off, gentle valley stopping, Cried all his story to the dewdrops glistening. But naught they heard, for they are always listening, The dewdrops, for the sound of their own dropping. And then the man whom Sorrow named his friend Sought once again the shore, and found a shell, And thought, I will my heavy story tell Till my own words, re-echoing, shall send Their sadness through a hollow, pearly heart; And my own talc again for me shall sing, And my own whispering words be comforting, And lo! my ancient burden may depart. Then he sang softly nigh the pearly rim; But the sad dweller by the sea-ways lone Changed all he sang to inarticulate moan Among her wildering whirls, forgetting him.

The cats are asleep at the end of my bed and all around me, the thundery silence of L'Escarènere, caught at last in the rising flood of warm air, carrying the sand from the south. The Alps are folded above in the flickering light. And on the desk in the room beneath lies the writing which insists that the only escape is through the absolute destruction of everything you have ever known, loved, cared for, believed in, even the shell of yourself must be discarded with contempt; for freedom costs no less than everything, including your generosity, self-respect, integrity, tenderness - is that really what i wanted to say? It's what I have said. Worse still, I have pointed out the sheer creative joy of this ferocious destructiveness and the liberating wonder of violence. And these are dangerous messages for which I am no longer responsible.

All his life, time had been passing in the only way he knew time to pass: uncrushed and uncrushable, as sands running through an hourglass grain by grain. And if the hourglass had been real, then in the bottom and neck-the past and the present-the sands of Lazlo's life would be as gray as his robes, as gray as his eyes, but the top-the future-would hold a brilliant storm of color: azure and cinnamon, blinding white and yellow gold and the shell pink of svytagor blood. So he hoped, so he dreamed: that, in the course of time, grain by grain, the gray would give way to the dream and the sands of his life would run bright.

The sand was hard-packed and solid and wet, speckled all over with cockle shells in colors and patterns of such profusion and variety that they must have given the first Dutchmen the idea to go out into the sea and bring back precious things from afar.

Fairacre children could handle tools, and had the plodding unhurried methods of the countryman that produce amazing results. Here was the perfect medium for their inborn skill. The golden sand was turned, raked, piled, patted and ornamented with shells and seaweed,

My unforgettable delight! As long as the crooks of my arms remember you, as long as you're still on my hands and lips, I'll be with you. I'll shed tears about you in something worthy, abiding. I'll write down my memory of you in a tender, tender, achingly sorrowful portrayal. I'll stay here until I've done it. And then I'll leave myself. This is how I'll portray you. I'll set your features on paper, as, after a terrible storm that churns the sea to its bottom, the traces of the strongest, farthest-reaching wave lie on the sand. In a broken, meandering line the sea heaps up pumice stones, bits of cork, shells, seaweed, the lightest, most weightless things it could from the bottom. This is the line of the highest tide stretching endlessly along the shore. So the storm of life cast you up to me, my pride. And so I will portray you.

A kind of northing is what I wish to accomplish, a single-minded trek towards that place where any shutter left open to the zenith at night will record the wheeling of all the sky’s stars as a pattern of perfect, concentric circles. I seek a reduction, a shedding, a sloughing off. At the seashore you often see a shell, or fragment of a shell, that sharp sands and surf have thinned to a wisp. There is no way you can tell what kind of shell it had been, what creature it had housed; it could have been a whelk or a scallop, a cowrie, limpet, or conch. The animal is long since dissolved, and its blood spread and thinned in the general sea. All you hold in your hand is a cool shred of shell, an inch long, pared so thin that it passes a faint pink light. It is an essence, a smooth condensation of the air, a curve. I long for the North where unimpeded winds would hone me to such a pure slip of bone. But I’ll not go northing this year. I’ll stalk that floating pole and frigid air by waiting here. I wait on bridges; I wait, struck, on forest paths and meadow’s fringes, hilltops and banksides, day in and day out, and I receive a southing as a gift. The North washes down the mountains like a waterfall, like a tidal wave, and pours across the valley; it comes to me. It sweetens the persimmons and numbs the last of the crickets and hornets; it fans the flames of the forest maples, bows the meadow’s seeded grasses and pokes it chilling fingers under the leaf litter, thrusting the springtails and the earthworms deeper into the earth. The sun heaves to the south by day, and at night wild Orion emerges looming like the Specter over Dead Man Mountain. Something is already here, and more is coming.

A moth flying into the flame says with its wingfire, 'Try this.' The wick with its knotted neck broken, tells you the same. A candle as it diminishes explains, 'Gathering more and more is not the way. Burn, become light and heat and help. Melt.' The ocean sits in the sand letting its lap fill with pearls and shells, then empty. A bittersalt taste hums, 'This.' The phoenix gives up on good-and-bad, flies to rest on Mt. Qaf, no more burning and rising from ash. It sends out one message. The rose purifies its face, drops the soft petals, shows its thorn, and points. Wine abandons thousands of famous names, the vintage years and delightful bouquets, to run wild and anonymous through your brain. The flute closes its eyes and gives its lips to Hamza’s emptiness. Everything begs with the silent rocks for you to be flung out like light over this plain, the presence of Shams.

Reading two pages apiece of seven books every night, eh? I was young. You bowed to yourself in the mirror, stepping forward to applause earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one saw: tell no-one. Books you were going to write with letters for titles. Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful. O yes, W. Remember your epiphanies written on green oval leaves, deeply deep, copies to be sent if you died to all the great libraries of the world, including Alexandria? Someone was to read them there after a few thousand years, a mahamanvantara. Pico della Mirandola like. Ay, very like a whale. When one reads these strange pages of one long gone one feels that one is at one with one who once ... The grainy sand had gone from under his feet. His boots trod again a damp crackling mast, razorshells, squeaking pebbles, that on the unnumbered pebbles beats, wood sieved by the shipworm, lost Armada. Unwholesome sandflats waited to suck his treading soles, breathing upward sewage breath, a pocket of seaweed smouldered in seafire under a midden of man's ashes. He coasted them, walking warily. A porterbottle stood up, stogged to its waist, in the cakey sand dough. A sentinel: isle of dreadful thirst. Broken hoops on the shore; at the land a maze of dark cunning nets; farther away chalkscrawled backdoors and on the higher beach a dryingline with two crucified shirts. Ringsend: wigwams of brown steersmen and master mariners. Human shells. He halted. I have passed the way to aunt Sara's. Am I not going there? Seems not.

When they were out of earshot, Ivo announced, "I like her." Seraphina grinned at her younger brother. "Last week you said you were finished with girls." "Pandora's a different kind of girl. Not like the ones who are afraid to touch frogs and are always talking about their hair." Gabriel barely listened to the exchange, his gaze fastened on Pandora's retreating form. She went to the verge of the high water mark where the sand was glossy, and stopped to pick up an interesting shell. Glimpsing another one behind her, she retrieved that as well, and another. She would have continued if Justin hadn't seized her hand and tugged her back on course. Good God, she really did walk in circles. A pang of tenderness centered in Gabriel's chest like an ache. He wanted all her circles to lead back to him.

You must know, my loved one, that there are beings in the elements which almost appear like mortals, and which rarely allow themselves to become visible to your race. Wonderful salamanders glitter and sport in the flames; lean and malicious gnomes dwell deep within the earth; spirits, belonging to the air, wander through the forests; and a vast family of water spirits live in the lakes and streams and brooks. In resounding domes of crystal, through which the sky looks in with its sun and stars, these latter spirits find their beautiful abode; lofty trees of coral with blue and crimson fruits gleam in their gardens; they wander over the pure sand of the sea, and among lovely variegated shells, and amid all exquisite treasures of the old world, which the present is no longer worthy to enjoy; all these the floods have covered with their secret veils of silver, and the noble monuments sparkle below, stately and solemn, and bedewed by the loving waters which allure from them many a beautiful moss-flower and entwining cluster of sea grass. Those, however, who dwell there, are very fair and lovely to behold, and for the most part, are more beautiful than human beings. Many a fisherman has been so fortunate as to surprise some tender mermaid, as she rose above the waters and sang. He would then tell afar of her beauty, and such wonderful beings have been given the name of Undines. You, however, are now actually beholding an Undine.

It was as if I were an oyster and somebody forced a grain of sand into my shell -- a grain of sand that I didn't know was there and didn't particularly welcome. Then a pearl started forming around the grain and it irritated me, made me angry, tortured me sometimes. But the oyster can't help becoming obsessed with the pearl.

Madame?” “Yes?” “What do I do?” “Just walk.” She walks. Now there are cold round pebbles beneath her feet. Now crackling weeds. Now something smoother: wet, unwrinkled sand. She bends and spreads her fingers. It’s like cold silk. Cold, sumptuous silk onto which the sea has laid offerings: pebbles, shells, barnacles. Tiny slips of wrack. Her fingers dig and reach; the drops of rain touch the back of her neck, the backs of her hands. The sand pulls the heat from her fingertips, from the soles of her feet.

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

I hear vowels in shells. I turn consonants over with sticks. Language washes out all sand.

my old hidden dreams that I thought buried for all time lie bare and naked to the day, just as the shells and the stones do on the sands

To be a poet is to be struck with wonder upon wonder as the waves leave the shores for everything that bids adieu leaves something behind, as a shell on the sands.

A sailor without his own ship was like a hermit crab without a shell.

Today it bordered more on the liked-quite-a-bit side of the scale. She stood on the beach at Lighthouse Point on Belle Island. The waves raced up the gentle slope of sand and lapped at her bare feet. This had to be her favorite spot, especially in the early morning hours when all she would pass was an occasional jogger or shell collector. The lighthouse was no

Now let us play hide and seek. Should you hide in my heart it would not be difficult to find you. But should you hide behind your own shell, then it would be useless for anyone to seek you.

The house had a private walk down to a private spit of beach, and in the mornings the four of them would troop downhill and swim—even he did, in his pants and undershirt and an old oxford shirt, which no one bothered him about—and then lie on the sand baking, the wet clothes ungluing themselves from his body as they dried. Sometimes Harold would come and watch them, or swim as well. In the afternoons, Malcolm and JB would pedal off through the dunes on bicycles, and he and Willem would follow on foot, picking up bits of shaley shells and the sad carapaces of long-nibbled-away hermit crabs as they went, Willem slowing his pace to match his own. In the evenings, when the air was soft, JB and Malcolm sketched and he and Willem read. He felt doped, on sun and food and salt and contentment, and at night he fell asleep quickly and early, and in the mornings he woke before the others so he could stand on the back porch alone looking over the sea.

I was meant to land wherever he settled, like the ocean washing seashells onto the shore. Jack was the shell, in constant motion and movement, being tossed around from place to place by the ebb and flow of something more powerful than he. And I was the sand, gripping and holding on to him, comforting his tumble with each push and pull of the tide, yet always constant. When I walked into the waiting

The Turtle breaks from the blue-black skin of the water, dragging her shell with its mossy scutes across the shallows and through the rushes and over the mudflats, to the uprise, to the yellow sand, to dig with her ungainly feet a nest, and hunker there spewing her white eggs down into the darkness, and you think of her patience, her fortitude, her determination to complete what she was born to do— and then you realize a greater thing— she doesn't consider what she was born to do. She's only filled with an old blind wish. It isn't even hers but came to her in the rain or the soft wind, which is a gate through which her life keeps walking. She can't see herself apart from the rest of the world or the world from what she must do every spring. Crawling up the high hill, luminous under the sand that has packed against her skin. she doesn't dream she knows she is a part of the pond she lives in, the tall tress are her children, the birds that swim above her are tied to her by an unbreakable string.

In her head, she’d written at least fifty romance novels with him starring as the hero. Steamy sexy romances, with her as the heroine. The Mermaid and the Millionaire, Shells in the Sand, Once Upon an Ocean… “Mari?

Aphrodite - She stays by the sea shore. Shining shells and soft surf sounds surround her shelter. Cythera simmers with summer, and seals swim in the sun. Songbirds circle in the sapphire sky, and sea stars sit semi-submerged in the sand.

It’s the water beyond the titanium sand that draws me in. Not blue, not even the bright green of a clear lagoon, something more like sea foam. A green so bright it has a tint of yellow. The color of clarity. Of shallow water over white sand.

Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull.

I think if you wanted a peaceful marriage and orderly household, you should have proposed to any one of the well-bred simpletons who've been dangled in front of you for years. Ivo's right: Pandora is a different kind of girl. Strange and marvelous. I wouldn't dare predict-" She broke off as she saw him staring at Pandora's distant form. "Lunkhead, you're not even listening. You've already decided to marry her, and damn the consequences." "It wasn't even a decision," Gabriel said, baffled and surly. "I can't think of one good reason to justify why I want her so bloody badly." Phoebe smiled, gazing toward the water. "Have I ever told you what Henry said when he proposed, even knowing how little time we would have together? 'Marriage is far too important a matter to be decided with reason.' He was right, of course." Gabriel took up a handful of warm, dry sand and let it sift through his fingers. "The Ravenels will sooner weather a scandal than force her to marry. And as you probably overheard, she objects not only to me, but the institution of marriage itself." "How could anyone resist you?" Phoebe asked, half-mocking, half-sincere. He gave her a dark glance. "Apparently she has no problem. The title, the fortune, the estate, the social position... to her, they're all detractions. Somehow I have to convince her to marry me despite those things." With raw honesty, he added, "And I'm damned if I even know who I am outside of them." "Oh, my dear..." Phoebe said tenderly. "You're the brother who taught Raphael to sail a skiff, and showed Justin how to tie his shoes. You're the man who carried Henry down to the trout stream, when he wanted to go fishing one last time." She swallowed audibly, and sighed. Digging her heels into the sand, she pushed them forward, creating a pair of trenches. "Shall I tell you what your problem is?" "Is that a question?" "Your problem," his sister continued, "is that you're too good at maintaining that façade of godlike perfection. You've always hated for anyone to see that you're a mere mortal. But you won't win this girl that way." She began to dust the sand from her hands. "Show her a few of your redeeming vices. She'll like you all the better for it.

I thought of my river, the Afon-Lwydd, that my father had fished in youth, with rod and line for the leaping salmon under the drooping alders. The alders, he said, that fringed the banks ten deep, planted by the wind of the mountains. But no salmon leap in the river now, for it is black with furnace washings and slag, and the great silver fish have been beaten back to the sea or gasped out of their lives on sands of coal. No alders stand now for thy have been chopped as fuel for the cold blast. Even the mountains are shells, groaning in their hollows of emptiness, trembling to the arrows of the pit-props in their sides, bellowing down the old workings that collapse in unseen dust five hundred feet below. Plundered is my country, violated, raped.

A few years ago, Ed and I were exploring the dunes on Cumberland Island, one of the barrier islands between the Atlantic Ocean and the mainland of south Georgia. He was looking for the fossilized teeth of long-dead sharks. I was looking for sand spurs so that I did not step on one. This meant that neither of us was looking very far past our own feet, so the huge loggerhead turtle took us both by surprise. She was still alive but just barely, her shell hot to the touch from the noonday sun. We both knew what had happened. She had come ashore during the night to lay her eggs, and when she had finished, she had looked around for the brightest horizon to lead her back to the sea. Mistaking the distant lights on the mainland for the sky reflected on the ocean, she went the wrong way. Judging by her tracks, she had dragged herself through the sand until her flippers were buried and she could go no farther. We found her where she had given up, half cooked by the sun but still able to turn one eye up to look at us when we bent over her. I buried her in cool sand while Ed ran to the ranger station. An hour later she was on her back with tire chains around her front legs, being dragged behind a park service Jeep back toward the ocean. The dunes were so deep that her mouth filled with sand as she went. Her head bent so far underneath her that I feared her neck would break. Finally the Jeep stopped at the edge of the water. Ed and I helped the ranger unchain her and flip her back over. Then all three of us watched as she lay motionless in the surf. Every wave brought her life back to her, washing the sand from her eyes and making her shell shine again. When a particularly large one broke over her, she lifted her head and tried her back legs. The next wave made her light enough to find a foothold, and she pushed off, back into the water that was her home. Watching her swim slowly away after her nightmare ride through the dunes, I noted that it is sometimes hard to tell whether you are being killed or saved by the hands that turn your life upside down.

This is how I will portray you, I'll trace your features on paper as the sea, after a fearful storm has churned it up, traces the form of the greatest, farthest-reaching wave on the sand. Seaweed, shells, cork, pebbles, the lightest, most imponderable things that it could lift from its bed, are cast up in a broken, sinuous line on the sand. This line endlessly stretching into the distance is the frontier of the highest tide. That was how life's storm cast you up on my shore, O my pride, that is how I'll portray you.

Indeed Christianity passes. Passes—it has gone! It has littered the beaches of life with churches, cathedrals, shrines and crucifixes, prejudices and intolerances, like the sea urchin and starfish and empty shells and lumps of stinging jelly upon the sands here after a tide. A tidal wave out of Egypt. And it has left a multitude of little wriggling theologians and confessors and apologists hopping and burrowing in the warm nutritious sand. But in the hearts of living men, what remains of it now? Doubtful scraps of Arianism. Phrases. Sentiments. Habits.

Ecstasy that must look pretty from inside—to core not just an apple but the entire orchard, the family, even the dog. Leave the shells to the crows. A field of red lampshades in the dark Garden of Myiasis. This is no cultivated haven. This is the earth riddled with a brother. The furrows are mountains. Waves of sand and we are ships wrecked. What’s left of a fleet of one hundred shadows shattered and bleached. A crop gone to sticks. The honeysuckle sags with bright sour powder. We have followed the flames, followed him here, where all the black birds in the world have fallen like a shotgun blast to the faded ground. The vines have hardened to worms baking in the desert heat. We are at the gate, shaking the gate, climbing the gate, clanging our cups against the gate. This is no garden. This is my brother and I need a shovel to love him.

some said they’d heard of pilgrims borne aloft like dervishes in those mindless coils to be dropped broken and bleeding upon the desert again and there perhaps to watch the thing that had destroyed them lurch onward like some drunken djinn and resolve itself once more into the elements from which it sprang. Out of that whirlwind no voice spoke and the pilgrim lying in his broken bones may cry out and in his anguish he may rage, but rage at what? And if the dried and blackened shell of him is found among the sands by travelers to come yet who can discover the engine of his ruin?

Nothing truly beautiful without its element of strangeness, nothing whole without its own incongruity, these (Jacksonville-area pioneer house) ruins sand up from the earth in sacred conjunction. These ruins conjoin the earth and the manmade, moving from one to the other and back again. The Browards built their house out of shell and limestone, and limestone forms naturally from the shells and skeletons of miniscule sea creatures over great periods of time. The Browards shaped the earth upright toward the sky. THey shaped it with doorframes and windows and chimneys. THey shaped the earth up around them as a shelter. But shaped earth was always the earth. Now the walls fall back down and join once again the ground, taken over by roots of ferns and weeds and small trees. The house was always the ground, only contained in an upward suspension. The house was always the earth, but brought up into architecture, and now the house that was always the earth crumbles back into the earth and nourishes new green things -- dog fennel and morning glories and palmettoes and cabbage palms and cedars. A true symbol of sacredness of the earth is earth's reclaiming of human ingenuity.

We spent afternoons kicking around in the sand, picking through the seaweed for shells, making headdresses of washed-up fishing ropes and hats from Styrofoam cups. Beach rats, we were called. We stopped brushing our hair, and it hung in tangles spun by the salt air. We sprayed Sun-In across our heads and let it turn our hair orange in patches. Our skin peeled, and we didn't much care. We woke up to the feel of sand in our sheets. We covered ourselves in baby oil and iodine and let the sun bake our skin. We smelled like Love's Baby Soft perfume, like summer all year long. We were tanned, with freckles across our noses.

How does a pearl develop into an oyster? A jagged grain of sand makes its way into the oyster's shell and makes its life unbearable. The oyster exudes slime to cover the grain of sand and the slime eventually hardens into a pearl. The oyster nearly dies in the process. To hell with the pearl, give me the healthy oyster!

Close your eyes," he had said to her. "Food demands complete submission." And then he placed a perfect scallop in her mouth. "Do you taste the sea?" Delphine did. Not just the salt of the sea but the very air of the moment that the shell was pulled from the sand. "A storm, perhaps. There is a dark edge to the sweetness of the meat.

On all sides, as far as the eye could reach, rose the grass-covered heaps marking the site of ancient habitations. The great tide of civilisation had long since ebbed, leaving these scattered wrecks on the solitary shore. Are those waters to flow again, bearing back the seeds of knowledge and of wealth that they have wafted to the West? We wanderers were seeking what they had left behind, as children gather up the coloured shells on the deserted sands. At my feet there was a busy scene, making more lonely the unbroken solitude which reigned in the vast plain around, where the only thing having life or motion were the shadows of the lofty mounds as they lengthened before the declining sun.

I draw myself up next to her and look at her profile, making no effort to disguise my attention, here, where there is only Puck to see me. The evening sun loves her throat and her cheekbones. Her hair the color of cliff grass rises and falls over her face in the breeze. Her expression is less ferocious than usual, less guarded. I say, “Are you afraid?” Her eyes are far away on the horizon line, out to the west where the sun has gone but the glow remains. Somewhere out there are my capaill uisce, George Holly’s America, every gallon of water that every ship rides on. Puck doesn’t look away from the orange glow at the end of the world. “Tell me what it’s like. The race.” What it’s like is a battle. A mess of horses and men and blood. The fastest and strongest of what is left from two weeks of preparation on the sand. It’s the surf in your face, the deadly magic of November on your skin, the Scorpio drums in the place of your heartbeat. It’s speed, if you’re lucky. It’s life and it’s death or it’s both and there’s nothing like it. Once upon a time, this moment — this last light of evening the day before the race — was the best moment of the year for me. The anticipation of the game to come. But that was when all I had to lose was my life. “There’s no one braver than you on that beach.” Her voice is dismissive. “That doesn’t matter.” “It does. I meant what I said at the festival. This island cares nothing for love but it favors the brave.” Now she looks at me. She’s fierce and red, indestructible and changeable, everything that makes Thisby what it is. She asks, “Do you feel brave?” The mare goddess had told me to make another wish. It feels thin as a thread to me now, that gift of a wish. I remember the years when it felt like a promise. “I don’t know what I feel, Puck.” Puck unfolds her arms just enough to keep her balance as she leans to me, and when we kiss, she closes her eyes. She draws back and looks into my face. I have not moved, and she barely has, but the world feels strange beneath me. “Tell me what to wish for,” I say. “Tell me what to ask the sea for.” “To be happy. Happiness.” I close my eyes. My mind is full of Corr, of the ocean, of Puck Connolly’s lips on mine. “I don’t think such a thing is had on Thisby. And if it is, I don’t know how you would keep it.” The breeze blows across my closed eyelids, scented with brine and rain and winter. I can hear the ocean rocking against the island, a constant lullaby. Puck’s voice is in my ear; her breath warms my neck inside my jacket collar. “You whisper to it. What it needs to hear. Isn’t that what you said?” I tilt my head so that her mouth is on my skin. The kiss is cold where the wind blows across my cheek. Her forehead rests against my hair. I open my eyes, and the sun has gone. I feel as if the ocean is inside me, wild and uncertain. “That’s what I said. What do I need to hear?” Puck whispers, “That tomorrow we’ll rule the Scorpio Races as king and queen of Skarmouth and I’ll save the house and you’ll have your stallion. Dove will eat golden oats for the rest of her days and you will terrorize the races each year and people will come from every island in the world to find out how it is you get horses to listen to you. The piebald will carry Mutt Malvern into the sea and Gabriel will decide to stay on the island. I will have a farm and you will bring me bread for dinner.” I say, “That is what I needed to hear.” “Do you know what to wish for now?” I swallow. I have no wishing-shell to throw into the sea when I say it, but I know that the ocean hears me nonetheless. “To get what I need.

I was meant to land wherever he settled, like the ocean washing seashells onto the shore. Jack was the shell, in constant motion and movement, being tossed around from place to place by the ebb and flow of something more powerful than he. And I was the sand, gripping and holding on to him, comforting his tumble with each push and pull of the tide, yet always constant.

He tottered to his feet and looked up and down the deserted strand. It was the color of an undergarment which has gone a long time without washing, littered with sea-shells which had no color. Here and there large rocks protruded from the gross-grained sand, and these were covered with guano, the older layers the yellow of ancient teeth, the fresher splotches white. The

All elves were jaw-droppingly gorgeous, but there was something particularly handsome about Keefe Sencen—and the boy was well aware of it. Though he seemed a little off his game at the moment. His smug smirk was noticeably absent as he scrounged around his blankets, searching for something. “Here,” Ro said, tossing Keefe a wrinkled black tunic from the floor. “Bet you’re wishing it didn’t smell so much like sweaty boy in here, huh?” “It’s fine,” Sophie promised, even if the room could definitely use some airing out. A good cleaning would work wonders too. Everywhere she looked were piles of crumpled clothes and scattered shoes and stacks of papers and plates of half-eaten food. And all the thick curtains were drawn tight, leaving the space dim and stuffy. The room was clearly designed to be beautiful, with marble floors broken up by rugs woven to look like pristine sand, and seafoam walls inlaid with starfish and anemone shells. But under Keefe’s care, it was a disaster zone. Even the furniture had a strange randomness to the arrangement that made Sophie wonder if he’d moved it all just to bug his dad.

Every generation of children instinctively nests itself in nature, no matter matter how tiny a scrap of it they can grasp. In a tale of one city child, the poet Audre Lord remembers picking tufts of grass which crept up through the paving stones in New York City and giving them as bouquets to her mother. It is a tale of two necessities. The grass must grow, no matter the concrete suppressing it. The child must find her way to the green, no matter the edifice which would crush it. "The Maori word for placenta is the same word for land, so at birth the placenta is buried, put back in the mothering earth. A Hindu baby may receive the sun-showing rite surya-darsana when, with conch shells ringing to the skies, the child is introduced to the sun. A newborn child of the Tonga people 'meets' the moon, dipped in the ocean of Kosi Bay in KwaZulu-Natal. Among some of the tribes of India, the qualities of different aspects of nature are invoked to bless the child, so he or she may have the characteristics of earth, sky and wind, of birds and animals, right down to the earthworm. Nothing is unbelonging to the child. "'My oldest memories have the flavor of earth,' wrote Frederico García Lorca. In the traditions of the Australian deserts, even from its time in the womb, the baby is catscradled in kinship with the world. Born into a sandy hollow, it is cleaned with sand and 'smoked' by fire, and everything -- insects, birds, plants, and animals -- is named to the child, who is told not only what everything is called but also the relationship between the child and each creature. Story and song weave the child into the subtle world of the Dreaming, the nested knowledge of how the child belongs. "The threads which tie the child to the land include its conception site and the significant places of the Dreaming inherited through its parents. Introduced to creatures and land features as to relations, the child is folded into the land, wrapped into country, and the stories press on the child's mind like the making of felt -- soft and often -- storytelling until the feeling of the story of the country is impressed into the landscape of the child's mind. "That the juggernaut of ants belongs to a child, belligerently following its own trail. That the twitch of an animal's tail is part of a child's own tale or storyline, once and now again. That on the papery bark of a tree may be written the songline of a child's name. That the prickles of a thornbush may have dynamic relevance to conscience. That a damp hollow by the riverbank is not an occasional place to visit but a permanent part of who you are. This is the beginning of belonging, the beginning of love. "In the art and myth of Indigenous Australia, the Ancestors seeded the country with its children, so the shimmering, pouring, circling, wheeling, spinning land is lit up with them, cartwheeling into life.... "The human heart's love for nature cannot ultimately be concreted over. Like Audre Lord's tufts of grass, will crack apart paving stones to grasp the sun. Children know they are made of the same stuff as the grass, as Walt Whitman describes nature creating the child who becomes what he sees: There was a child went forth every day And the first object he look'd upon, that object he became... The early lilacs became part of this child... And the song of the phoebe-bird... In Australia, people may talk of the child's conception site as the origin of their selfhood and their picture of themselves. As Whitman wrote of the child becoming aspects of the land, so in Northern Queensland a Kunjen elder describes the conception site as 'the home place for your image.' Land can make someone who they are, giving them fragments of themselves.

When the war has lasted twenty years . . . the dragonets will come. When the land is soaked in blood and tears . . . the dragonets will come. Find the SeaWing egg of deepest blue. Wings of night shall come to you. The largest egg in mountain high will give to you the wings of sky. For wings of earth, search through the mud for an egg the color of dragon blood. And hidden alone from the rival queens, the SandWing egg awaits unseen. Of three queens who blister and blaze and burn, two shall die and one shall learn if she bows to a fate that is stronger and higher, she’ll have the power of wings of fire. Five eggs to hatch on brightest night, five dragons born to end the fight. Darkness will rise to bring the light. The dragonets are coming. . . .

Some lives, ending as Miss Fielding's would, leave a grain of memory, like a grain of sand, in the depths of another mind, a grain of sand which is like the constant irritation under an oyster's shell, eventually to grow with coating after coating of disguising beauty into a pearl. Sometime this memory would be pried loose, in its rounded beauty, to stand by itself as an object of delight.

If I had three lives, I’d marry you in two. And the other? That life over there at Starbucks, sitting alone, writing — a memoir, maybe a novel or this poem. No kids, probably, a small apartment with a view of the river, and books — lots of books and time to read. Friends to laugh with; a man sometimes, for a weekend, to remember what skin feels like when it’s alive. I’m thinner in that life, vegan, practice yoga. I go to art films, farmers markets, drink martinis in swingy skirts and big jewelry. I vacation on the Maine coast and wear a flannel shirt weekend guy left behind, loving the smell of sweat and aftershave more than I do him. I walk the beach at sunrise, find perfect shell spirals and study pockmarks water makes in sand. And I wonder sometimes if I’ll ever find you.

This isn’t sand at all.” “No,” Ann said, kneeling beside her. “They’re tiny shells.” White snail shells, no bigger than the head of a pin, caught along the lines of Evelyn’s palm. She studied them with uncertain wonder, then looked up at the beach itself, white with billions of dwarf deaths, free fossil washed, yes, gently, into petrified rhythms along the shore. “Isn’t it beautiful?” Ann asked.

Even yet I do not know why the ocean holds such a fascination for me. But then, perhaps none of us can solve those things—they exist in defiance of all explanation. There are men, and wise men, who do not like the sea and its lapping surf on yellow shores; and they think us strange who love the mystery of the ancient and unending deep. Yet for me there is a haunting and inscrutable glamour in all the ocean's moods. It is in the melancholy silver foam beneath the moon's waxen corpse; it hovers over the silent and eternal waves that beat on naked shores; it is there when all is lifeless save for unknown shapes that glide through sombre depths. And when I behold the awesome billows surging in endless strength, there comes upon me an ecstasy akin to fear; so that I must abase myself before this mightiness, that I may not hate the clotted waters and their overwhelming beauty. Vast and lonely is the ocean, and even as all things came from it, so shall they return thereto. In the shrouded depths of time none shall reign upon the earth, nor shall any motion be, save in the eternal waters. And these shall beat on dark shores in thunderous foam, though none shall remain in that dying world to watch the cold light of the enfeebled moon playing on the swirling tides and coarse-grained sand. On the deep's margin shall rest only a stagnant foam, gathering about the shells and bones of perished shapes that dwelt within the waters. Silent, flabby things will toss and roll along empty shores, their sluggish life extinct. Then all shall be dark, for at last even the white moon on the distant waves shall wink out. Nothing shall be left, neither above nor below the sombre waters. And until that last millennium, and beyond the perishing of all other things, the sea will thunder and toss throughout the dismal night.

exploring and looking for neat shells to add to my collection. When I made it past the coral reef, I noticed something glistening in the sand below me. As I got closer, I could see that it was some sort of chest made out of pure gold! After opening it, I realized that there was a whole bunch of glittering gems and gold inside. What a find, huh?” said Lily excitedly. “Well done Lily, you’ve got quite an eye to spot such an amazing buried treasure.” said her father.

My mother told me once that when Conrad was very young, he called her “his Laura.” “Where is my Laura?” he’d say, wandering around looking for her. She said he followed her everywhere; he’d even follow her into the bathroom. He called her his girlfriend and he would bring her sand crabs and seashells from the ocean and he would lay them at her feet. When she told me about it, I thought, What I wouldn’t give to have Conrad Fisher call me his girlfriend and bring me shells.

Two Lovers And A Beachcomber By The Real Sea" Cold and final, the imagination Shuts down its fabled summer house; Blue views are boarded up; our sweet vacation Dwindles in the hour-glass. Thoughts that found a maze of mermaid hair Tangling in the tide's green fall Now fold their wings like bats and disappear Into the attic of the skull. We are not what we might be; what we are Outlaws all extrapolation Beyond the interval of now and here: White whales are gone with the white ocean. A lone beachcomber squats among the wrack Of kaleidoscope shells Probing fractured Venus with a stick Under a tent of taunting gulls. No sea-change decks the sunken shank of bone That chucks in backtrack of the wave; Though the mind like an oyster labors on and on, A grain of sand is all we have. Water will run by; the actual sun Will scrupulously rise and set; No little man lives in the exacting moon And that is that, is that, is that. Sylvia Plath, Mademoiselle, August 1955.

The edge of something mostly buried in the sand caught the sun, and I bent to pick up a pearl nautilus. Simple and uncomplicatedly lovely, a pearl nautilus whispered its beauty. It wasn’t showy like a cameo or frog shell, with their twists and nubs and variations. It never competed for attention, but it held and reflected a prism of light that perfectly complimented its surroundings. Someone else may have overlooked a pearl nautilus, but I preferred it. - Nicole Abbot (Whisper of Light)

Unfathomable. Fathoms. I wonder is that the difficulty, that my memories and my imaginings are lying deeply in the same place? Or one on top of the other like layers of shells and sand in a piece of limestone, so that they have become the same element, and I cannot distinguish one from the other with any ease, unless it is from close, close looking? Which is why I am so afraid to speak to Dr. Grene, lest I give him only imaginings. Imaginings. A nice sort of a word for catastrophe and delusion.

MOTHER. I do not believe that there is anything sweeter in the world than the ideas which awake in a mother’s heart at the sight of her child’s tiny shoe; especially if it is a shoe for festivals, for Sunday, for baptism, the shoe embroidered to the very sole, a shoe in which the infant has not yet taken a step. That shoe has so much grace and daintiness, it is so impossible for it to walk, that it seems to the mother as though she saw her child. She smiles upon it, she kisses it, she talks to it; she asks herself whether there can actually be a foot so tiny; and if the child be absent, the pretty shoe suffices to place the sweet and fragile creature before her eyes. She thinks she sees it, she does see it, complete, living, joyous, with its delicate hands, its round head, its pure lips, its serene eyes whose white is blue. If it is in winter, it is yonder, crawling on the carpet, it is laboriously climbing upon an ottoman, and the mother trembles lest it should approach the fire. If it is summer time, it crawls about the yard, in the garden, plucks up the grass between the paving-stones, gazes innocently at the big dogs, the big horses, without fear, plays with the shells, with the flowers, and makes the gardener grumble because he finds sand in the flower-beds and earth in the paths. Everything laughs, and shines and plays around it, like it, even the breath of air and the ray of sun which vie with each other in disporting among the silky ringlets of its hair. The shoe shows all this to the mother, and makes her heart melt as fire melts wax.

Queen Ariel held the nautilus and considered thoughtfully. But the little mermaid didn't think. She acted. Before she realized fully what she was doing Ariel had smashed the nautilus on a sharply faceted rock. It didn't break like a normal shell. It shattered like a human vessel. Shards flew in all directions equally, unhampered by gravity or luck. Ariel pitched forward. She choked, no longer breathing the air of the Dry World. Her arms flailed up like a puppet's. Her torso whipped back and forth, pummeled by unseen forces. Something flew into her mouth, up her nose, and suffused her entire body with a heat that threatened to burn. It rushed into her lungs and expanded, expelling whatever breath she had left, pushing blood to her extremities, pushing everything out that wasn't it, leaving room for nothing else. Ariel collapsed. It was over. It was like the thing, whatever it was, had been absorbed by her body and had now dissipated into her blood and flesh. She took a breath. Her heart started beating again. She hadn't been aware it had stopped. She coughed. A few grains of sand came out. And then she sang.

I love the ocean. My perfect day is spent riding waves at the beach, preferably early in the morning or just before sunset, when the light is beautiful and the crowds are sparse. I've loved the ocean my whole life. Some of my greatest memories are of piling in the station wagon with my family for a long drive to the beach, where we'd spend the day swimming, playing in the sand, digging for clams, or combing the shore for shells. I've always been taken by the majesty of the sea; the mystery of the unseen world below; and the calming, rhythmic sound of the waves.

We have heard that a few days after this, when the Provincetown Bank was robbed, speedy emissaries from Provincetown made particular inquiries concerning us at this lighthouse. Indeed, they traced us all the way down the Cape, and concluded that we came by this unusual route down the back side and on foot in order that we might discover a way to get off with our booty when we had committed the robbery. The Cape is so long and narrow, and so bare withal, that it is well-nigh impossible for a stranger to visit it without the knowledge of its inhabitants generally, unless he is wrecked on to it in the night. So, when this robbery occurred, all their suspicions seem to have at once centered on us two travelers who had just passed down it. If we had not chanced to leave the Cape so soon, we should probably have been arrested. The real robbers were two young men from Worcester County who traveled with a centre-bit, and are said to have done their work very neatly. But the only bank that we pried into was the great Cape Cod sand-bank, and we robbed it only of an old French crown piece, some shells and pebbles, and the materials of this story.

It was slow at first, dead things slowly mouldering away. The flies in the corners, the dried flowers in their clay pots. The stuffed bird Alfie bought, only because he was both fascinated and disgusted by it in equal measures, was molting on it's perch. It's feathers falling like leaves then laying, parched and cracking dry. The sea shells I kept on my windowsill turned slowly back into sand and the wind filtering through the curtains blew the pieces into the creases of my bedsheets. When I pulled them over my head at night they felt like waves crashing against my ears. It made my thoughts sodden and heavy like impalpable clay, they dredged through my mind like half-forgotten things. Wave: a face, a feeling, the ghost of a name balancing on my teeth and ready to- crash: and now gone, like a dream I once tried to remember though it was already evaporating quick from my morning-shaking fingers. I started dreaming of crumbling sandcastles and the ocean lapping at my feet. I woke in waves and lay, rocking, until I got up to place my feet in the quiet carpet and watch through my down-turned, dream-filled lashes, as it exhaled dust at every step.

In fact, here I am these current years 1890 and '91, (each successive fortnight getting stiffer and stuck deeper) much like some hard-cased dilapidated grim ancient shell-fish or time-bang'd conch (no legs, utterly non-locomotive) cast up high and dry on the shore-sands, helpless to move anywhere - nothing left but behave myself quiet, and while away the days yet assign'd, and discover if there is anything for the said grim and time-bang'd conch to be got at last out of inherited good spirits and primal buoyant centre-pulses down there deep somewhere within his gray-blurr'd old shell.

I saw this documentary on a tsunami once," I said. "When it's coming, it pulls the water away from the beach. Pulls it lower than sea level so the ocean floor is exposed. You can see all the sand and shells and coral, so people go in to look at it. And then the tidal wave comes, and it's too late to run. It already has you." I looked her in the eye. "They lure you in. They make you feel like you're the best thing to ever happen to them, like you're the most special woman in the world like you're seeing something rare. But that's the trap. It's how they get you close enough to drown you.

Subject: Some boat Alex, I know Fox Mulder. My mom watched The X-Files. She says it was because she liked the creepy store lines. I think she liked David Duchovny. She tried Californication, but I don't think her heart was in it. I think she was just sticking it to my grandmother, who has decided it's the work of the devil. She says that about most current music,too, but God help anyone who gets between her and American Idol. The fuzzy whale was very nice, it a little hard to identify. The profile of the guy between you and the whale in the third pic was very familiar, if a little fuzzy. I won't ask. No,no. I have to ask. I won't ask. My mother loves his wife's suits. I Googled. There are sharks off the coast of the Vineyard. Great big white ones. I believe you about the turtle. Did I mention that there are sharks there? I go to Surf City for a week every summer with my cousins. I eat too much ice cream. I play miniature golf-badly. I don't complain about sand in my hot dog buns or sheets. I even spend enough time on the beach to get sand in more uncomfortable places. I do not swim. I mean, I could if I wanted to but I figure that if we were meant to share the water with sharks, we would have a few extra rows of teeth, too. I'll save you some cannoli. -Ella Subject: Shh Fiorella, Yes,Fiorella. I looked it up. It means Flower. Which, when paired with MArino, means Flower of the Sea. What shark would dare to touch you? I won't touch the uncomfortable sand mention, hard as it is to resist. I also will not think of you in a bikini (Note to self: Do not think of Ella in a bikini under any circumstanes. Note from self: Are you f-ing kidding me?). Okay. Two pieces of info for you. One: Our host has an excellent wine cellar and my mother is European. Meaning she doesn't begrudge me the occasional glass. Or four. Two: Our hostess says to thank yur mother very much. Most people say nasty things about her suits. Three: We have a house kinda near Surf City. Maybe I'll be there when your there. You'd better burn this after reading. -Alexai Subect: Happy Thanksgiving Alexei, Consider it burned. Don't worry. I'm not showing your e-mails to anybody. Matter of national security, of course. Well,I got to sit at the adult table. In between my great-great-aunt Jo, who is ninety-three and deaf, and her daughter, JoJo, who had to repeat everyone's conversations across me. Loudly. The food was great,even my uncle Ricky's cranberry lasagna. In fact, it would have been a perfectly good TG if the Eagles han't been playing the Jets.My cousin Joey (other side of the family) lives in Hoboken. His sister married a Philly guy. It started out as a lively across-the-table debate: Jets v. Iggles. It ended up with Joey flinging himself across the table at his brother-in-law and my grandmother saying loud prayers to Saint Bridget. At least I think it was Saint Bridget. Hard to tell. She was speaking Italian. She caught me trying to freeze a half-dozen cannoli. She yelled at me. Apparently, the shells get really soggy when they defrost. I guess you'll have to come have a fresh one when you get back. -F/E

He came in the end, as he must, to the other coast, over the state line and well north of where he'd thought he was going, to a place where the Pacific Ocean ended on a white beach under dark pines and there were mussel shells as big as his hand and driftwood logs taller than buildings, wider than a man's length. Swell that had been rising and running from the coast of Japan, from the other side of the planet, crashed day and night onto the sand below the group's cabins, as if he'd come at last to a place where he could hear the earth breathe. Even now, in August, it was cool here, the green breath of the old forest and the salt sea always on his face.

Ancient powers lurk in your bones. Four mountains bind you to your home. Four days to find you are not alone. “White shell, blue turquoise, abalone, and jet, Two to remember, one to forget. The last, take from the progenitor’s debt. “The spider reveals the rainbow road. Two will pay what one once owed. Beware, beware the friendly toad. “A talking stone, a field of knives, a prom of thorns, a seethe of sand. Thoughts take form, form becomes true. To defeat the trials, you must know you. “Who will pay the lost ones’ price? Blood and flesh will not suffice. A dream must be the sacrifice. “The Merciless One keeps vigil true. Heir of lightning, overdue. What once was old is now brand-new. Only then will you be you.

When I first said, “the world is your oyster,” it sounded pretty good, right? Like all these gorgeous pearls would just be coming your way and you’d be living on so-called easy street. But the saga of the oyster and the pearl is more complicated than it first appears. The pearl only happens when sand gets inside an oyster and irritates it. The world is my oyster? Full of irritation? What kind of blessing is that? It’s not my fault, Princess. I know. You’d like to just la-di-da through life, easy does it, instead of being stuck with a sandy oyster [laughs]. If I give you Billy’s prescription for making pearls, would you like that? Yes, I know, the irritation doesn’t feel good, but without it there would be no pearl. Don’t focus too much on the irritation. Try to relax about the sand. If you deal with the sand creatively, you’ll have a gorgeous treasure. To be a pearl maker, your oyster needs a good strong shell to protect you from a hundred million irritants in your environment. Your shell helps you tell one grain of sand from the other. You know which one can become a pearl and which one isn’t worth the irritation. If you become a really smart oyster, with a good shell, you can live life with more abandon because you don’t have to worry so much about the sand. “Oh, there’s that sand again. This always happens when I take a big bite out of the ocean. I’ll spit most of it out and won’t be too concerned about the rest.” And

The Sea-Child Into the world you sent her, mother, Fashioned her body of coral and foam, Combed a wave in her hair's warm smother, And drove her away from home In the dark of the night she crept to the town And under a doorway she laid her down, The little blue child in the foam-fringed gown. And never a sister and never a brother To hear her call, to answer her cry. Her face shone out from her hair's warm smother Like a moonkin up in the sky. She sold her corals; she sold her foam; Her rainbow heart like a singing shell Broke in her body: she crept back home. Peace, go back to the world, my daughter, Daughter, go back to the darkling land; There is nothing here but sad sea water, And a handful of sifting sand.

He cut into all the legendary textiles of the world—damask of the Medicis, oyster-white of Greek robes, the mixed gold-and-blue of Venetian brocades, the midnight-blue wool of Peru, the sand colors of African cottons, the transparent muslins of India—to give birth to women who only appear to men asleep. His women became comets, trailing long nebulous trains. Erratic members of the solar system. He gave only the silver scale of their mermaid moods, the sea-shell rose of their ear lobes, corollas, pistils, light as wings. He housed them in façades of tent shelters which could be put up for a moment, then folded and made to vanish when desire expired. ‘Nothing endures,’ said Varda, ‘unless it has first been transposed into a myth.

get out on the rocks or the fields or the water and spout them." Captain Jim had come up that afternoon to bring Anne a load of shells for her garden, and a little bunch of sweet-grass which he had found in a ramble over the sand dunes. "It's getting real scarce along this shore now," he said. "When I was a boy there was a-plenty of it. But now it's only once in a while you'll find a plot—and never when you're looking for it. You jest have to stumble on it—you're walking along on the sand hills, never thinking of sweet-grass—and all at once the air is full of sweetness—and there's the grass under your feet. I favor the smell of sweet-grass. It always makes me think of my mother." "She was fond of it?" asked Anne. "Not that I knows on. Dunno's she ever saw any sweet-grass. No, it's because it has a kind of motherly perfume—not too young, you understand—something kind of seasoned and wholesome and dependable—jest like a mother. The schoolmaster's bride always kept it among her handkerchiefs. You might put that little bunch among yours, Mistress Blythe. I don't like these boughten scents—but a whiff of sweet-grass belongs anywhere a lady does." Anne had not been especially enthusiastic over the idea of surrounding her flower beds with quahog shells; as a decoration they did not appeal to her on first thought. But she would not have hurt Captain Jim's feelings for anything; so she assumed a virtue she did not at first feel, and thanked him heartily. And when Captain Jim had proudly encircled every bed with a rim of the big, milk-white shells, Anne found to her surprise that she liked the effect.

He listened to the small, quick sounds of the typing lady’s fingers. Earlier, her tapping had sounded like raindrops, but now it sounded more like a flock of starlings lifting from a wheat field and then settling again, blending back into the Library’s ambient hush. Or maybe not starlings. Maybe waves. Maybe the starlings were changing into waves, washing up on the sand and tickling all the pebbles and tiny broken shells, before receding again. In and out, waves and starlings, the tapping of fingers on a keyboard, the rustle of a turning page, the exhalations of the stars, punctuated by an occasional snore—Benny heard all these sounds, rising and falling, and he knew, too, that they, like the voices he heard, were always there, and would always be there, coming and going, somewhere in the background.

Consider how you can use visual pattern to define a space for its purpose and activity... - In the bathroom, you might want to use rippled or soft undulating patterns to remind yourself of the calmness of water, think water surface, sand, or shell patterns. - In the living room, leafy patterns and forest-inspired shapes and patterns can be relaxing and restorative. - Retreats or quiet spaces such as bedrooms or home offices might benefit from images of sheltered or secluded natural spaces, for example cave-like patterns. - By contrast, lively spaces may suit patterns of more dynamic natural systems, such as waterfalls and rivers. Remember that there is a balance to strive for here. Subtlety is key, so the patterns don't dominate the space and overwhelm you. Also keep in mind that there are no straight lines in nature, so hard edges can appear harsh.

Although it was only a single instrument, each note had the peculiar echoed quality of a thousand harmonics voiced together. There was a whisper behind the strongest note and a shout beneath the softest, and they sang of far off places in long forgotten times. There were no words, but the images of ancient pride, noble heritage, and castles in the sand were imagined from the progression. This was the song that would be played at the birth of a nation, full of hope and promise of better days ahead. This was the song of the end of days with all love and longing lost beyond recall or desire. Farris could see this song playing at her wedding, or her funeral, as a herald of joy and sorrow. She found tears in her eyes and heard herself laugh, and she couldn’t say why she was doing either. Her skin was tense and covered with goosebumps, and she shivered with pleasure.

She stood on the willow bank. It was bright as mid-afternoon in the openness of the water, quiet and peaceful. She took off her clothes and let herself into the river. She saw her waist disappear into reflection less water; it was like walking into sky, some impurity of skies. All seemed one weight, one matter -- until she put down her head and closed her eyes and the light slipped under her lids, she felt this matter a translucent one, the river, herself, the sky all vessels which the sun filled. She began to swim in the river, forcing it gently, as she would wish for gentleness to her body. Her breasts around which she felt the water curving were as sensitive at that moment as the tips of wings must feel to birds, or antennae to insects. She felt the sand, grains intricate as little cogged wheels, minute shells of old seas, and the many dark ribbons of grass and mud touch her and leave her, like suggestions and withdrawals of some bondage that might have been dear, now dismembering and losing itself. She moved but like a cloud in skies, aware but only of the nebulous edges of her feeling and the vanishing opacity of her will, the carelessness for the water of the river through which her body had already passed as well as for what was ahead. The bank was all one, where out of the faded September world the little ripening plums started. Memory dappled her like no more than a paler light, which in slight agitations came through leaves, not darkening her for more than an instant. the iron taste of the old river was sweet to her, though. If she opened her eyes she looked at blue bottles, the skating waterbugs. If she trembled, it was at the smoothness of a fish or a snake that crossed her knees. In the middle of the river, whose downstream or upstream could not be told by a current, she lay on her stretched arm, not breathing, floating. Virgie had reached the point where in the next moment she might turn into something without feeling it shock her. She hung suspended in the Big Black River as she would know how to hang suspended in felicity. Far to the west, a cloud running fingerlike over the sun made her splash the water. She stood, walked along the soft mud of the bottom, and pulled herself out of the water by a willow branch, which like a warm rain brushed her back with its leaves. The moon, while she looked into the high sky, took its own light between one moment and the next. A wood thrush, which had begun to sing, hushed its long moment and began again. Virgie put her clothes back on. She would have given much for a cigarette, always wishing for a little more of what had just been. (from the short story The Wanderers)

buildings, or he helped them in wars, or in rounding up dangerous animals. In the calm adventures, he got new things to eat and people gave him toys. He lost most of the toys as he was scrambling back home over the rocks, but he did manage to bring back the shiny shell necklace the silly ladies gave him, because he could hang it around his neck. He went to the Anywhere with the silly ladies several times. It had blue sea and white sand, perfect for digging and building in. There were ordinary people in it, but Christopher only saw them in the distance. The silly ladies came and sat on rocks out of the sea and giggled at him while he made sand castles. “Oh clistoffer!” they would coo, in lisping voices. “Tell uth what make you a clistoffer.” And they would all burst into screams of high laughter. They were the only ladies he had seen without clothes on. Their skins were greenish and

When I heard about the path, I had to come down and see it for myself. I had heard about it before but didn’t really think it existed.” Zach was quick with his questions. “What do you think it is, and who made it?” he asked. Jeff looked at the boy, then back at Rock. “It’s my theory that Native Americans made the path using a giant shell for a mold. It’s the shape of a Noble Pen Shell, which is odd, because this shell is only found in the Mediterranean Sea. It could have been brought here from across the sea by early traders though - something to trade to the Indians in exchange for rich minerals such as gold or silver. They would have been fascinated by a shell this large and odd shaped. “The mold would have been filled with a crushed base layer, probably ground oyster shell, sand, rock and maybe even non-porous clay - then mixed with a binding agent, I have no idea what until I analyze it.

And I know it scares you through and through No one knows you like I do Try to tell me that ain’t true Oh, we could be lovely If this could get ugly C’mon now, honey Let yourself think about it Can you really live without it? Oh, we could be lovely If this could get ugly IMPOSSIBLE WOMAN Impossible woman Let her hold you Let her ease your soul Sand through fingers Wild horse, but she’s just a colt Dancing barefoot in the snow Cold can’t touch her, high or low She’s blues dressed up like rock ’n’ roll Untouchable, she’ll never fold She’ll have you running In the wrong direction Have you coming For the wrong obsessions Oh, she’s gunning For your redemption Have you headed Back to confession Sand through fingers Wild horse, but she’s just a colt Dancing barefoot in the snow Cold can’t touch her, high or low She’s blues dressed up like rock ’n’ roll Untouchable, she’ll never fold Walk away from the impossible

TAKING LEAVE Of the unhindered motion in the million swirled and twisted grooves of the juniper driftwood lying in the sand; taking leave of each sapphire and amber thread and each iridescent bead of the swallowtail's wing and of the quick and clever needle of the seamstress in the dark cocoon that accomplished the stitching. Goodbye to the long pale hairs of the swaying grassflowers, so like, in grace and color and bearing, the nodding antennae of the green valley grasshopper clinging to its blade; and to the staircase shell of the butter-colored wendletrap and to the branches of the sourwood making their own staircase with each step upward they take and to the spiraling of the cobweb weaver twirling as it descends on its silk out of the shadows of the pitch pine. Taking leave of the sea of spring, that grey-green swell slowly rising, spreading, its heavy wisteria-scented surf filled with darting, gliding, whistling fish, a current of cries, an undertow of moans and buzzes, so pervasive and penetrating and alluring that the lungs adapt to the density. Determined not to slight the knotted rockweed or the beach plum or the white, blue-tipped petals of the five spot; determined not to overlook the pursed orange mouth of each maple leaf just appearing or the entire chorus of those open leaves in full summer forte. My whole life, a parting from the brazen coyote thistle and the reticent, tooth-ridged toad crab and the proud, preposterous sage grouse. And you mustn't believe that the cessation which occurs here now is more than illusory; the ritual of this leave-taking continues beyond these lines, in a whisper beside the window, below my breath by the river, without noise through the clearing at midnight, even in the dark, even in sleep, continues, out-of-notice, private, incessant.

What can I tell them? Sealed in their metallic shells like molluscs on wheels, how can I pry the people free? The auto as tin can, the park ranger as opener. Look here, I want to say, for godsake folks get out of them there machines, take off those fucking sunglasses and unpeel both eyeballs, look around; throw away those goddamned idiotic cameras! For chrissake folks what is this life if full of care we have no time to stand and stare? eh? Take off your shoes for a while, unzip your fly, piss hearty, dig your toes in the hot sand, feel that raw and rugged earth, split a couple of big toenails, draw blood! Why not? Jesus Christ, lady, roll that window down! You can't see the desert if you can't smell it. Dusty? Of course it's dusty—this is Utah! But it's good dust, good red Utahn dust, rich in iron, rich in irony. Turn that motor off. Get out of that peice of iron and stretch your varicose veins, take off your brassiere and get some hot sun on your old wrinkled dugs! You sir, squinting at the map with your radiator boiling over and your fuel pump vapor-locked, crawl out of that shiny hunk of GM junk and take a walk—yes, leave the old lady and those squawling brats behind for a while, turn your back on them and take a long quiet walk straight into the canyons, get lost for a while, come back when you damn well feel like it, it'll do you and her and them a world of good. Give the kids a break too, let them out of the car, let them go scrambling over rocks hunting for rattlesnakes and scorpions and anthills—yes sir, let them out, turn them loose; how dare you imprison little children in your goddamned upholstered horseless hearse? Yes sir, yes madam, I entreat you, get out of those motorized wheelchairs, get off your foam rubber backsides, stand up straight like men! like women! like human beings! and walk—walk—WALK upon your sweet and blessed land!

Her collections matured, categorized methodically by order, genus, and species; by age according to bone wear; by size in millimeters of feathers; or by the most fragile hues of greens. The science and art entwined in each other’s strengths: the colors, the light, the species, the life; weaving a masterpiece of knowledge and beauty that filled every corner of her shack. Her world. She grew with them—the trunk of the vine—alone, but holding all the wonders together. But just as her collection grew, so did her loneliness. A pain as large as her heart lived in her chest. Nothing eased it. Not the gulls, not a splendid sunset, not the rarest of shells. Months turned into a year. The lonely became larger than she could hold. She wished for someone’s voice, presence, touch, but wished more to protect her heart. Months passed into another year. Then another. PART 2 The Swamp 22. Same Tide 1965 Nineteen years old, legs longer, eyes larger and seemingly blacker, Kya sat on Point Beach, watching sand crabs bury themselves backward into the swash.

He carefully poured the juice into a bowl and rinsed the scallops to remove any sand caught between the tender white meat and the firmer coral-colored roe, wrapped around it like a socialite's fur stole. Mayur is the kind of cook (my kind), who thinks the chef should always have a drink in hand. He was making the scallops with champagne custard, so naturally the rest of the bottle would have to disappear before dinner. He poured a cup of champagne into a small pot and set it to reduce on the stove. Then he put a sugar cube in the bottom of a wide champagne coupe (Lalique, service for sixteen, direct from the attic on my mother's last visit). After a bit of a search, he found the crème de violette in one of his shopping bags and poured in just a dash. He topped it up with champagne and gave it a swift stir. "To dinner in Paris," he said, glass aloft. 'To the chef," I answered, dodging swiftly out of the way as he poured the reduced champagne over some egg yolks and began whisking like his life depended on it. "Do you have fish stock?" "Nope." "Chicken?" "Just cubes. Are you sure that will work?" "Sure. This is the Mr. Potato Head School of Cooking," he said. "Interchangeable parts. If you don't have something, think of what that ingredient does, and attach another one." I counted, in addition to the champagne, three other bottles of alcohol open in the kitchen. The boar, rubbed lovingly with a paste of cider vinegar, garlic, thyme, and rosemary, was marinating in olive oil and red wine. It was then to be seared, deglazed with hard cider, roasted with whole apples, and finished with Calvados and a bit of cream. Mayur had his nose in a small glass of the apple liqueur, inhaling like a fugitive breathing the air of the open road. As soon as we were all assembled at the table, Mayur put the raw scallops back in their shells, spooned over some custard, and put them ever so briefly under the broiler- no more than a minute or two. The custard formed a very thin skin with one or two peaks of caramel. It was, quite simply, heaven. The pork was presented neatly sliced, restaurant style, surrounded with the whole apples, baked to juicy, sagging perfection.

I wanted to be recognized in the stories I loved so badly. With ballet, it doesn't matter where you come from. It matters how good you are." "That's why you trained so hard." "Yes, but it wasn't just that." Before things were bad, my mother used to ask why I was so drawn to the sea. I told her that although the sea is dangerous beneath the surface, people still find beauty in it from above. It's still something to be adored, even if it is usually only ever loved at a distance. That's why I loved performing. For a moment, I could just be admired. Not a danger to everyone around me. Like the sea, I have a tendency to destroy things. Beautiful things. Sacred things. The sea takes things she loves--- like coral or shells--- and obliterates them to sand. I've always told myself she doesn't mean to; it's just the way she is. She can't choose when the hurricanes roll in or when the tsunamis rise. They flow out of her as they should. Maybe even in ways she doesn't understand. Ballet makes me feel like the ocean--- silently unfurling with all the rage I've buried deep down, yet still manifesting in something beautiful. For those few moments, with all eyes on me, I'm heard. Ballet tells stories, and this is how I tell mine.

The men who had inhabited prehistoric Egypt, who had carved the Sphinx and founded the world‘s oldest civilization, were men who had made their exodus from Atlantis to settle on this strip of land that bordered the Nile. And they had left before their ill-fated continent sank to the bottom of the Atlantic Ocean, a catastrophe which had drained the Sahara and turned it into a desert. The shells which to-day litter the surface of the Sahara in places, as well as the fossil fish which are found among its sands, prove that it was once covered by the waters of a vast ocean. It was a tremendous and astonishing thought that the Sphinx provided a solid, visible and enduring link between the people of to-day and the people of a lost world, the unknown Atlanteans. This great symbol has lost its meaning for the modern world, for whom it is now but an object of local curiosity. What did it mean to the Atlanteans? We must look for some hint of an answer in the few remnants of culture still surviving from peoples whose own histories claimed Atlantean origin. We must probe behind the degenerate rituals of races like the Incas and the Mayas, mounting to the purer worship of their distant ancestors, and we shall find that the loftiest object of their worship was Light, represented by the Sun. Hence they build pyramidal Temples of the Sun throughout ancient America. Such temples were either variants or slightly distorted copies of similar temples which had existed in Atlantis. After Plato went to Egypt and settled for a while in the ancient School of Heliopolis, where he lived and studied during thirteen years, the priest-teachers, usually very guarded with foreigners, favoured the earnest young Greek enquirer with information drawn from their well-preserved secret records. Among other things they told him that a great flat-topped pyramid had stood in the centre of the island of Atlantis, and that on this top there had been build the chief temple of the continent – a sun temple. […] The Sphinx was the revered emblem in stone of a race which looked upon Light as the nearest thing to God in this dense material world. Light is the subtlest, most intangible of things which man can register by means of one of his five senses. It is the most ethereal kind of matter which he knows. It is the most ethereal element science can handle, and even the various kind of invisible rays are but variants of light which vibrate beyond the power of our retinas to grasp. So in the Book of Genesis the first created element was Light, without which nothing else could be created. „The Spirit of God moved upon the face of the Deep,“ wrote Egyptian-trained Moses. „And God said, Let there be Light: and there was Light.“ Not only that, it is also a perfect symbol of that heavenly Light which dawns within the deep places of man‘s soul when he yields heart and mind to God; it is a magnificent memorial to that divine illumination which awaits him secretly even amid the blackest despairs. Man, in turning instinctively to the face and presence of the Sun, turns to the body of his Creator. And from the sun, light is born: from the sun it comes streaming into our world. Without the sun we should remain perpetually in horrible darkness; crops would not grow: mankind would starve, die, and disappear from the face of this planet. If this reverence for Light and for its agent, the sun, was the central tenet of Atlantean religion, so also was it the central tenet of early Egyptian religion. Ra, the sun-god, was first, the father and creator of all the other gods, the Maker of all things, the One, the self-born [...] If the Sphinx were connected with this religion of Light, it would surely have some relationship with the sun.

I got drunk at a beach party, passed out. Someone needed a nicotine fix, pawed through my purse and found my last cigarette. By the time I woke up the empty box was on the sand next to me, and a little crab had crawled into it and made it its home. Like I said, I didn’t die. All my life I thought my soul was in those cigarettes, and I never even thought about the box. I never paid any attention to that paper shell of quiet, that enclosed bit of emptiness. An empty box is a home for lost spiders you want to carry outside. It holds loose change, buttons that have fallen off, needles and thread. It works tolerably well for lipstick, eye pencil, and a bit of blush. It is open to whatever you’d like to put in it. And that is how I feel: open, careless, adaptable. Yes, life is now truly just an experiment. What can I do next? Anything. But to get here, I first had to smoke my cigarettes. What happened to me was a state change. When my soul turned from a box of cigarettes to a box, I grew up. I thought of writing to you because you remind me of myself. You thought you understood your soul, and you thought you knew how you needed to live your life. I thought you were wrong then, but I didn’t have the right answer myself. But now I do. I think you are ready for a state change.

If the queen catches you in here again, Princess, she'll sentence you to do the dishes right alongside me! she heard another voice ring out. No one was there, but Snow knew the voice. It was Mrs. Kindred, the cook who had survived her aunt's dismissals over the years. When Snow's mother was alive, she'd encouraged her daughter to be friendly with those who helped them in the castle, and Mrs. Kindred had always been Snow's favorite person to chat with. She could see herself sitting on a chair, no more than six or seven, watching Mrs. Kindred chop onions, carrots, and leeks and throw them all into a giant pot of broth. She and Mrs. Kindred only stole a few moments together most days now- she suspected her aunt must have forbidden the cook from talking to her, what with how Mrs. Kindred always quickly sent Snow on her way- but back then she had always peppered the cook with questions. ("How do you cut the carrots so small? Why do leeks have sand in them? What spices are you going to add? How do you know how much to put in?") On one such occasion, she'd been such a distraction that Mrs. Kindred had finally picked her up, holding her high on her broad chest, and let her stir the pot herself. Eventually, she taught her how to dice and chop, too, since Snow wouldn't stop talking. By suppertime, young Snow had convinced herself she'd made the whole meal. She had been proud, too, carrying the dishes out to the dining table that night.

I saw five squaws under a bank for shelter. When the troops came up to them they ran out and showed their persons to let the soldiers know they were squaws and begged for mercy, but the soldiers shot them all. I saw one squaw lying on the bank whose leg had been broken by a shell; a soldier came up to her with a drawn saber; she raised her arm to protect herself, when he struck, breaking her arm; she rolled over and raised her other arm, when he struck, breaking it, and then left her without killing her. There seemed to be indiscriminate slaughter of men, women, and children. There were some thirty or forty squaws collected in a hole for protection; they sent out a little girl about six years old with a white flag on a stick; she had not proceeded but a few steps when she was shot and killed. All the squaws in that hole were afterwards killed, and four or five bucks outside. The squaws offered no resistance. Every one I saw dead was scalped. I saw one squaw cut open with an unborn child, as I thought, lying by her side. Captain Soule afterwards told me that such was the fact. I saw the body of White Antelope with the privates cut off, and I heard a soldier say he was going to make a tobacco pouch out of them. I saw one squaw whose privates had been cut out. … I saw a little girl about five years of age who had been hid in the sand; two soldiers discovered her, drew their pistols and shot her, and then pulled her out of the sand by the arm. I saw quite a number of infants in arms killed with their mothers.

LATE ONE AFTERNOON, after watching for Chase Andrews, Kya walks from her shack and lies back on a sliver of beach, slick from the last wave. She stretches her arms over her head, brushing them against the wet sand, and extends her legs, toes pointed. Eyes closed, she rolls slowly toward the sea. Her hips and arms leave slight indentions in the glistening sand, brightening and then dimming as she moves. Rolling nearer the waves, she senses the ocean’s roar through the length of her body and feels the question: When will the sea touch me? Where will it touch me first? The foamy surge rushes the shore, reaching toward her. Tingling with expectancy, she breathes deep. Turns more and more slowly. With each revolution, just before her face sweeps the sand, she lifts her head gently and takes in the sun-salt smell. I am close, very close. It is coming. When will I feel it? A fever builds. The sand wetter beneath her, the rumble of surf louder. Even slower, by inches she moves, waiting for the touch. Soon, soon. Almost feeling it before it comes. She wants to open her eyes to peek, to see how much longer. But she resists, squinting her lids even tighter, the sky bright behind them, giving no hints. Suddenly she shrieks as the power rushes beneath her, fondles her thighs, between her legs, flows along her back, swirling under her head, pulling her hair in inky strands. She rolls faster into the deepening wave, against streaming shells and ocean bits, the water embracing her. Pushing against the sea’s strong body, she is grasped, held. Not alone. Kya sits up and opens her eyes to the ocean foaming around her in soft white patterns, always changing.

thought there might not be a sky: he had an idea that the formless rock went on and on in a great arch overhead—but when he thought about it, that did not seem possible. Christopher always knew in his dream that you could get to Almost Anywhere from The Place Between. He called it Almost Anywhere because there was one place that did not want you to go to it. It was quite near, but he always found himself avoiding it. He set off sliding, scrambling, edging across bulging wet rock, and climbing up or down, until he found another valley and another path. There were hundreds of them. He called them the Anywheres. The Anywheres were mostly quite different from London. They were hotter or colder, with strange trees and stranger houses. Sometimes the people in them looked ordinary, sometimes their skin was bluish or reddish and their eyes were peculiar, but they were always very kind to Christopher. He had a new adventure every time he went on a dream. In the active adventures people helped him escape through cellars of odd buildings, or he helped them in wars, or in rounding up dangerous animals. In the calm adventures, he got new things to eat and people gave him toys. He lost most of the toys as he was scrambling back home over the rocks, but he did manage to bring back the shiny shell necklace the silly ladies gave him, because he could hang it around his neck. He went to the Anywhere with the silly ladies several times. It had blue sea and white sand, perfect for digging and building in. There were ordinary people in it, but Christopher only saw them in the distance. The silly ladies came and sat on rocks out of the sea and giggled at him while he made sand castles. “Oh clistoffer!” they would coo, in lisping voices. “Tell uth what make you a clistoffer.” And they would all burst into screams of high laughter. They were the only ladies he had seen without clothes on. Their skins were greenish and so was their hair. He was fascinated by the way the ends of them were big silvery tails that could curl and flip

People are so soon gone; let us catch them. That man there, by the cabinet; he lives, you say, surrounded by china pots. Break one and you shatter a thousand pounds. And he loved a girl in Rome and she left him. Hence the pots, old junk found in lodging-houses or dug from the desert sands. And since beauty must be broken daily to remain beautiful, and he is static, his life stagnates in a china sea. It is strange though; for once, as a young man, he sat on damp ground and drank rum with soldiers. One must be quick and add facts deftly, like toys to a tree, fixing them with a twist of the fingers. He stoops, how he stoops, even over an azalea. He stoops over the old woman even, because she wears diamonds in her ears, and, bundling about her estate in a pony carriage, directs who is to be helped, what tree felled, and who turned out tomorrow. (I have lived my life, I must tell you, all these years, and I am now past thirty, perilously, like a mountain goat, leaping from crag to crag; I do not settle long anywhere; I do not attach myself to one person in particular; but you will find that if I raise my arm, some figure at once breaks off and will come.) And that man is a judge; and that man is a millionaire, and that man, with the eyeglass, shot his governess “through the heart with an arrow when he was ten years old. Afterwards he rode through deserts with despatches, took part in revolutions and now collects materials for a history of his mother’s family, long settled in Norfolk. That little man with a blue chin has a right hand that is withered. But why? We do not know. That woman, you whisper discreetly, with the pearl pagodas hanging from her ears, was the pure flame who lit the life of one of our statesmen; now since his death she sees ghosts, tells fortunes, and has adopted a coffee-coloured youth whom she calls the Messiah.* That man with the drooping moustache, like a cavalry officer, lived a life of the utmost debauchery (it is all in some memoir) until one day he met a stranger in a train who converted him between Edinburgh and Carlisle by reading the Bible. Thus, in a few seconds, deftly, adroitly, we decipher the hieroglyphs written on other people’s faces. Here, in this room, are the abraded and battered shells cast on the shore.

I’m going to guide you across the desert,” the alchemist said. “I want to stay at the oasis,” the boy answered. “I’ve found Fatima, and, as far as I’m concerned, she’s worth more than treasure.” “Fatima is a woman of the desert,” said the alchemist. “She knows that men have to go away in order to return. And she already has her treasure: it’s you. Now she expects that you will find what it is you’re looking for.” “Well, what if I decide to stay?” “Let me tell you what will happen. You’ll be the counselor of the oasis. You have enough gold to buy many sheep and many camels. You’ll marry Fatima, and you’ll both be happy for a year. You’ll learn to love the desert, and you’ll get to know every one of the fifty thousand palms. You’ll watch them as they grow, demonstrating how the world is always changing. And you’ll get better and better at understanding omens, because the desert is the best teacher there is. “Sometime during the second year, you’ll remember about the treasure. The omens will begin insistently to speak of it, and you’ll try to ignore them. You’ll use your knowledge for the welfare of the oasis and its inhabitants. The tribal chieftains will appreciate what you do. And your camels will bring you wealth and power. “During the third year, the omens will continue to speak of your treasure and your Personal Legend. You’ll walk around, night after night, at the oasis, and Fatima will be unhappy because she’ll feel it was she who interrupted your quest. But you will love her, and she’ll return your love. You’ll remember that she never asked you to stay, because a woman of the desert knows that she must await her man. So you won’t blame her. But many times you’ll walk the sands of the desert, thinking that maybe you could have left … that you could have trusted more in your love for Fatima. Because what kept you at the oasis was your own fear that you might never come back. At that point, the omens will tell you that your treasure is buried forever. “Then, sometime during the fourth year, the omens will abandon you, because you’ve stopped listening to them. The tribal chieftains will see that, and you’ll be dismissed from your position as counselor. But, by then, you’ll be a rich merchant, with many camels and a great deal of merchandise. You’ll spend the rest of your days knowing that you didn’t pursue your Personal Legend, and that now it’s too late. “You must understand that love never keeps a man from pursuing his Personal Legend. If he abandons that pursuit, it’s because it wasn’t true love … the love that speaks the Language of the World.

The archaeologist attached to the Bayard Dominick’s Marquesan team had reported in 1925 that the Marquesas offered “few opportunities for archaeological research.” But in 1956, a new expedition set out to reexamine the possibilities in these islands at the eastern edge of the Polynesian Triangle. An energetic Columbia University graduate student named Robert Suggs was sent ahead to reconnoiter, and he quickly discovered that the previous generation had gotten it all wrong. Everywhere he looked, he saw archaeological potential. “We were seldom out of sight of some relic of the ancient Marquesan culture,” he writes. “Through all the valleys were scattered clusters of ruined house platforms. . . . Overgrown with weeds, half tumbled down beneath the weight of toppled trees and the pressure of the inexorable palm roots, these ancient village sites were sources of stone axes, carved stone pestles, skulls, and other sundry curios.” There were ceremonial plazas “hundreds of feet long” and, high on the cliffs above the deep valleys, “burial caves containing the remains of the population of centuries past.” The coup de grâce came when Suggs and his guide followed up on a report of a large number of “pig bones” in the dunes at a place called Ha‘atuatua. This windswept expanse of scrub and sand lies on the exposed eastern corner of Nuku Hiva. A decade earlier, in 1946, a tidal wave had cut away part of the beach, and since then bones and other artifacts had been washing out of the dunes. Not knowing quite what to expect, Suggs and his guide rode over on horseback. When they came out of the “hibiscus tangle” at the back of the beach and “caught sight of the debris washing down the slope,” he writes, “I nearly fell out of the saddle.” The bones that were scattered all along the slope and on the beach below were not pig bones but human bones! Ribs, vertebrae, thigh bones, bits of skull vault, and innumerable hand and foot bones were everywhere. At the edge of the bank a bleached female skull rested upside down, almost entirely exposed. Where the bank had been cut away, a dark horizontal band about two feet thick could be seen between layers of clean white sand. Embedded in this band were bits of charcoal and saucers of ash, fragments of pearl shell, stone and coral tools, and large fitted stones that appeared to be part of a buried pavement. They had discovered the remains of an entire village, complete with postholes, cooking pits, courtyards, and burials. The time was too short to explore the site fully, but the very next year, Suggs and his wife returned to examine it. There

My bisnonno is such a man...Fine, you laugh again. Not so handsome,I think,but just as proud. He struts through the square with his new shoes. He buys a carriage. But he gives to the poor,too, to the Church.He is kind to his siters; he is a friend to many.He is raffinato, a gentleman. And the girl he chooses? Hmm? Hmm?" "I don't know, Nonna. Elizabeth Benedetto?" "Hah!" Nonna slapped her hand hard against her knee. It bounced soundlessly off the leopard plush. "Elisabetta. Elisabetta, daughter of a man who works on another's boat. Elisabetta who has many sisters and who is intended for the Church if she does not marry. I don't remember her family name, if I ever knew. Maybe Benedetto.Why not? It does not matter.What matters is that no one understands why Michelangelo Costa chooses this girl. No one can...oh,the word...to say a picture of: descrivere." "Describe?" "Si. Describe.No one can describe her.Small,they think. Brown, maybe. Maybe not so pretty, not so ugly. Just a girl. She sits by the seawall mending nets her family does not own. She is odd,too,her neighbors think.They think it is she who leaves little bit of shell and rock when she is done with the nets, little mosaico on the wall. So why? the piu bella girls ask, the ones with long,long necks, and long black hair, and noses that turn up at the end. Why this odd, nobody girl in her ugly dresses, with her dirty feet? "Michelangelo sends his cousins to her with gifts. A cameo, silk handkerchiefs, a fine pair of gloves. Again,the laugh.Then, you would not have laughed at a gift of gloves, piccola. Oh,you girls now. You want what? E-mails and ePods?" "That's iPods,Nonna." "Whatever. See,that word I know. Now, Elisabetta sends back the little girst. So my bisnonno sends bigger: pearls, meters of silk cloth, a horse. These,too,she will not take. And the people begin to look,and ask: Who is she, this nobody girl,to refuse him? No money,no beauty,no family name.You are a fool,they tell her. Accept. Accept! "And my proud bisnonno does not understand. He can have any girl in the town.So again,he gathers the gifts, he carries them himself, leads the horse. But Elisabetta is not to be found. She is not at her papa's house or in the square or at the seawall. Michelangelo fears she has gone to the convent. But no. As he stands at the seawall, a seabird,a gull, lands on his shoulder and says-" "Nonna-" "Shh! The girl tells him to follow the delfino....delfin? Dolphin! So he looks, and there, a dolphin with its head above the water says, 'Follow!' So he follows,the sack with gifts for Elisabetta on his back,like a peddler, the horse trailing behind.The dolphin leads him around the bay to a beach, and there is Elisabetta, old dress covered in sand,feet bare, just drawing circles in the sand. She starts to run, but Michelangelo calls to her. 'Why,' he asks her. 'Why do you hide? Why will you not take my gifts?' And she says..." I'd been fighting a losing battle with yawning for a while. I was failing fast. "I have no idea. 'I'm in love with someone else.'?

Wherever you go, Provincetown will always take you back, at whatever age and in whatever condition. Because time moves somewhat differently there, it is possible to return after ten years or more and run into an acquaintance, on Commercial or at the A&P, who will ask mildly, as if he’d seen you the day before yesterday, what you’ve been doing with yourself. The streets of Provincetown are not in any way threatening, at least not to those with an appetite for the full range of human passions. If you grow deaf and blind and lame in Provincetown, some younger person with a civic conscience will wheel you wherever you need to go; if you die there, the marshes and dunes are ready to receive your ashes. While you’re alive and healthy, for as long as it lasts, the golden hands of the clock tower at Town Hall will note each hour with an electric bell as we below, on our purchase of land, buy or sell, paint or write or fish for bass, or trade gossip on the post office steps. The old bayfront houses will go on dreaming, at least until the emptiness between their boards proves more durable than the boards themselves. The sands will continue their slow devouring of the forests that were the Pilgrims’ first sight of North America, where man, as Fitzgerald put it, “must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.” The ghost of Dorothy Bradford will walk the ocean floor off Herring Cove, draped in seaweed, surrounded by the fleeting silver lights of fish, and the ghost of Guglielmo Marconi will tap out his messages to those even longer dead than he. The whales will breach and loll in their offshore world, dive deep into black canyons, and swim south when the time comes. Herons will browse the tidal pools; crabs with blue claws tipped in scarlet will scramble sideways over their own shadows. At sunset the dunes will take on their pink-orange light, and just after sunset the boats will go luminous in the harbor. Ashes of the dead, bits of their bones, will mingle with the sand in the salt marsh, and wind and water will further disperse the scraps of wood, shell, and rope I’ve used for Billy’s various memorials. After dark the raccoons and opossums will start on their rounds; the skunks will rouse from their burrows and head into town. In summer music will rise up. The old man with the portable organ will play for passing change in front of the public library. People in finery will sing the anthems of vanished goddesses; people who are still trying to live by fishing will pump quarters into jukeboxes that play the songs of their high school days. As night progresses, people in diminishing numbers will wander the streets (where whaling captains and their wives once promenaded, where O’Neill strode in drunken furies, where Radio Girl—who knows where she is now?—announced the news), hoping for surprises or just hoping for what the night can be counted on to provide, always, in any weather: the smell of water and its sound; the little houses standing square against immensities of ocean and sky; and the shapes of gulls gliding overhead, white as bone china, searching from their high silence for whatever they might be able to eat down there among the dunes and marshes, the black rooftops, the little lights tossing on the water as the tides move out or in.

She painted this one for me. We were playing ocean. Can't you see what it is?" Two dark oval shapes in the middle of the page; hard, glittering shells. Two turtles stretching their heads toward the shore. The translucent sea above the flickering seabed. Brownish black mangrove trees against warm sand. The figures on the beach are tiny, with long, flowing hair. The song floats away from them, out over the ocean; in gold and lurid pink it strikes the dark shapes of the creatures in an extravagance of light. "Those are the princesses," I say. Maraia nods. "The big song is taking them up into the light.

The Lee Shore" Wheel gull spin and glide ... you've got no place to hide 'Cause you don't need one All along the lee shore shells lie scattered in the sand Winking up like shining eyes at me, from the sea Here is one like sunrise older than you know It's still lying there where some careless wave Forgot it long ago When I awoke this morning Dove beneath my floating home Down below her graceful side In the turning tide To watch the sea fish roam And there I heard a story From the sailors of the Sandra Marie There's another island a day's run away from here It's empty and free From here to Venezuela nothing more to see Than a hundred thousand islands Flung like jewels upon the sea For you and me Sunset smells of dinner Women are calling at me to end my tales But perhaps I'll see you the next quiet place I furl my sails 4 Way Street (1971)

We’re playing with fire,” Ezra muttered, shaking his head. “If she makes a move, we’ll be goners. She’ll own every piece of us, and there won’t be anyone who can pull us out.

As the Chinese translation of the name Sukhāvatī suggests, it is a land of supreme joy. The Sanskrit is of similar meaning: “that which possesses ease and comfort.” Sukhāvatī is not subject to the sufferings that plague this world and, furthermore, it is a land of surpassed beauty. It is described as having seven tiers of balustrades, seven rows of nets, and seven rows of trees, all adorned with four jewels (gold, silver, lapsis lazuli, and crystal). There is a lake of the seven jewels (gold, silver, lapis lazuli, crystal, a kind of big shell [tridacna gigas], coral, and agate), filled with water having the eight virtues. The bottom of the lake is gold sand. On the four sides of the lake are stairs (galleries) made of the four jewels. Above are towers and palaces also adorned with the seven jewels. Above are towers and palaces also adorned with the seven jewels. In the lake bloom lotus flowers as large as chariot wheels. The blue lotus flowers emit a blue light, and the yellow, red, and white lotus flowers emit light of corresponding colors. They all give forth a sweet fragrance. The delightful sound of heavenly music can be hard, and in the morning, at noon, and in the evening mandārava flowers fall from the sky and gently pile up on the golden ground. Every morning the inhabitants of the Pure Land gather these flowers with the hems of their robes and make offerings of them to myriads of buddhas in other lands. At mealtime they return to their own land, where they take their meal and stroll around. There are many kinds of birds—swans, peacocks, parrots, sharikas, kalaviṅkas, and jīvaṃjīvakas, which sing with beautiful voices, proclaiming the teachings of the Buddha. When living beings hear this song, they think about the Buddha, Dharma (“law,” or his teachings), and Saṅgha (“community of believers”). When the gentle breezes blow, the rows of four-jeweled trees and jeweled nets give forth a gentle music, like a beautiful symphony. In this land dwell Amitābha Buddha and his two attendants, the bodhisattvas Avalokitśvara and Mahāsthāmaprāpta. At their feet are those virtuous beings who have been reborn in that land because of their ardent faith. All, however, are male; women of deep faith are reborn here with male bodies. The female sex, considered inferior and unfortunate, has no place in Sukhāvatī. All people, says Śākyamuni, should ardently wish for rebirth in that land and become the companions of the most virtuous of all beings. People cannot hope for rebirth there just by performing a few good deeds, however. If living beings meditate eagerly upon the name of Amitābha for even one day with an undisturbed mind, Amitābha and his holy retinue will appear before them to receive them at the end of Life. They will enter the Pure Land with unperturbed hearts.

Jeremiah declined, even though night fishing was his favorite. He was always trying to get people to go night fishing with him. That night he said he wasn’t in the mood. So they left, and Jeremiah stayed behind, with me. We watched TV and played cards. We spent most of the summer doing that, just us. We cemented things between us that summer. He’d wake me up early some mornings, and we would go collect shells or sand crabs, or ride our bikes to the ice cream place three miles away. When it was just us two, he didn’t joke around as much, but he was still Jeremiah. From that summer on I felt closer to Jeremiah than I did to my own brother. Jeremiah was nicer. Maybe because he was somebody’s little sibling too, or maybe just because he was that kind of person. He was nice to everybody. He had a talent for making people feel comfortable.

The grass glints with sea glass and, when the wind’s blowing onshore, it’s scattered with sand: the line between beach and garden blurred.

You do not really want to meet your special love, you only want to dream that some night she’ll step out and walk, with her footprints vanishing on the sand as the wind follows, to your apartment where she’ll tap on your window and enter to unspool her spirit-light in long creeks of film on your ceiling.

I strain at my too-tight shell, my hermit crab body preparing to molt, ready to shed this skin in favor of a larger shell that will accommodate my new growth. It's time to head out into the aquarium unprotected in search of a better fit, time to quit burrowing down into the same old sand and hiding from the world.

Life on earth would not be worth much if every source of irritation were removed. Yet most of us rebel against the things that irritate us, and count as heavy loss what ought to be rich gain. We are told that the oyster is wiser; that when an irritating object, like a bit of sand, gets under the “mantle” of his shell, he simply covers it with the most precious part of his being and makes of it a pearl. The irritation that it was causing is stopped by encrusting it with the pearly formation. A true pearl is therefore simply a victory over irritation. Every irritation that gets into our lives today is an opportunity for pearl culture. The more irritations the devil flings at us, the more pearls we may have. We need only to welcome them and cover them completely with love, that most precious part of us, and the irritation will be smothered out as the pearl comes into being. What a store of pearls we may have, if we will!

Beyond them, the tide continues. The water shifts the sand, reassembles the shells, sucks the stones to pebbles, The waves break and mend, break and mend. A reminder, as they stand together, that what the water takes, it returns.

Frida Kahlo, San Miguel, Ash Wednesday You faded so long ago but here in the souvenir arcade you’re everywhere: the printed cotton bags, the pierced tin boxes, the scarlet T-shirts, the beaded crosses; your coiled braids, your level stare, your body of a deer or martyr. It’s a meme you can turn into if your ending’s strange enough and ardent, and involves much pain. The rope of a hanged man brings good luck; saints dangle upside down or offer their breasts on a plate and we wear them, we invoke them, insert them between our flesh and danger. Fireworks, two streets over. Something’s burning somewhere, or did burn, once. A torn silk veil, a yellowing letter: I’m dying here. Love on a skewer, a heart in flames. We breathe you in, thin smoke, grief in the form of ashes. Yesterday the children smashed their hollowed eggs on the heads of others, baptizing them with glitter. Shell fragments litter the park like the wings of crushed butterflies, like sand, like confetti: azure, sunset, blood, your colours.

I was going to have to hospitalize the inch-long Microglanis parahybae bouncing himself on sand at the bottom of the community tank. Apparently, he’d picked up some Ichthyophthirius.

Beyond these, illuminated by past summers, one summer remained that stayed the sun long into the night after you had watched the others; others with their fathers knee-deep, belly-button unconcerned, roly-poly mothers stretching out of the sea. Whiter than starch hands on bat and ball, you failed to catch. Tents, buckets, spades; others that went on digging barricades. You castle-bound, spying on princesses, honey-gold, singing against the blue, if touched surely their skin would ooze? Aware of own smell, skin-texture, sun in eyes, lips, toes, the softness underneath, in between, wondering what miracle made you, the sky, the sea. Conscious of sound, gulls hovering, crying, or silent at rarer intervals, their swift turns before being swallowed by the waves. Then no sound, all suddenly would be soundless, treading softly, dividing rocks with fins, and sword-fish fingers plucking away clothes, that were left with your anatomy, huddled like ruffled birds waiting. A chrysalis heart formed on the water’s surface, away from the hard-polished pebbles, sand-blowing and elongated shadows. Away, faster than air itself, dragon-whirled. Be given to, the sliding of water, to forget, be forgotten; premature thoughts—predetermined action. In a moment fixed between one wave and the next, the outline of what might be ahead. On your back, staring into space, becoming part of the sky, a speckled bird’s breast that opened up at the slightest notion on your part. But the hands, remember the hands that pulled your legs, that doubled you up, and dragged you down? Surprised at non-resistance. Voices that called, creating confusion. Cells tighter than shells, you spinning into spirals, quick-silver, thrashing the water, making stars scatter. Narcissus above, staring at a shadow-bat spreading out, finally disappearing into the very centre of the ocean. They were always there waiting by the edge, behind them the cliffs extended. Your head disembodied, bouncing above the separate force of arms and legs, rhythmical, the glorious sensation of weightlessness, moon-controlled, and far below your heart went on exploring, no matter how many years came between, nor how many people were thrust into focus. That had surely been the beginning, the separating of yourself from the world that no longer revolved round you, the awareness of becoming part of, merging into something else, no longer dependent upon anyone, a freedom that found its own reality, half of you the constant guardian, watching your actions, your responses, what you accepted, what you might reject.

An old leather jacket. A conch shell. Bloody mouth. Kisses under falling snowflakes. Sand in her hair. Backseats. Pizza. Romeo and Juliet. Stick shift. Arrogant boy. Trouble boy. Wild boy. Her boy. Her boy who never hurt her. Her boy who waited. Her boy who loved. Hers.

Soft washed river sand is still the best toy ever invented for children. It serves countless other purposes too. It cannot be beat for scouring dirty pots and pans and for cleaning wooden floors. Mixed with burnt powdered clam shells, you have the finest cement. Take a smooth slab of wood and cover it with tree or bush resin, sprinkle different colored river sand on the sticky resin to form colored pictures. River sand laid under animal traps prevent them from freezing down even in the coldest weather. River sand makes fine sidewalks and good insulation under buildings.

The Bright Lights of Sarajevo After the hours that Sarajevans pass queuing with empty canisters of gas to get the refills they wheel home in prams, or queuing for the precious meagre grams of bread they’re rationed to each day, and often dodging snipers on the way, or struggling up sometimes eleven flights of stairs with water, then you’d think the nights of Sarajevo would be totally devoid of people walking streets Serb shells destroyed, but tonight in Sarajevo that’s just not the case The young go walking at stroller’s pace, black shapes impossible to mark as Muslim, Serb or Croat in such dark, in unlit streets you can’t distinguish who calls bread hjleb or hleb or calls it kruh. All take the evening air with stroller’s stride no torches guide them, but they don’t collide except as one of the flirtatious ploys when a girl’s dark shape is fancied by a boy’s. Then the tender radar of the tone of voice shows by its signals she approves his choice. Then match or lighter to a cigarette to check in her eyes if he’s made progress yet. And I see a pair who’ve certainly progressed beyond the tone of voice and match-flare test and he’s about, I think, to take her hand and lead her away from where they stand on two shell scars, where, in ‘92 Serb mortars massacred the breadshop queue and blood-dunked crusts of shredded bread lay on this pavement with the broken dead. And at their feet in holes made by the mortar that caused the massacre, now full of water from the rain that’s poured down half the day, though now even the smallest clouds have cleared away leaving the Sarajevo star-filled evening sky ideally bright and clear for bomber’s eye in those two rain-full shell-holes the boy sees fragments of the splintered Pleiades, sprinkled on those death-deep, death-dark wells splashed on the pavement by Serb mortar shells. The dark boy-shape leads dark girl-shape away to share one coffee in a candlelit café until the curfew, and he holds her hand behind AID flour-sacks refilled with sand

The Bright Lights of Sarajevo After the hours that Sarajevans pass queuing with empty canisters of gas to get the refills they wheel home in prams or queuing for the precious meagre grams of bread they’re rationed to each day, and often dodging snipers on the way, or struggling up sometimes eleven flights of stairs with water, then you’d think the nights of Sarajevo would be totally devoid of people walking streets Serb shells destroyed, but tonight in Sarajevo that’s just not the case – The young go walking at stroller’s pace black shapes impossible to mark as Muslim, Serb or Croat in such dark in unlit streets you can’t distinguish who calls bread hjleb or hleb or calls it kruh. All take the evening air with stroller’s stride no torches guide them, but they don’t collide except as one of the flirtatious ploys when a girl’s dark shape is fancied by a boy’s. Then the tender radar of the tone of voice shows by its signals she approves his choice. Then match or lighter to a cigarette to check in her eyes if he’s made progress yet. And I see a pair who’ve certainly progressed beyond the tone of voice and match-flare test and he’s about, I think, to take her hand and lead her away from where they stand on two shell scars, where, in 1992 Serb mortars massacred the breadshop queue and blood-dunked crusts of shredded bread lay on this pavement with the broken dead. And at their feet in holes made by the mortar that caused the massacre, now full of water from the rain that’s poured down half the day, though now even the smallest clouds have cleared away leaving the Sarajevo star-filled evening sky ideally bright and clear for bomber’s eye in those two rain-full shell-holes the boy sees fragments of the splintered Pleiades, sprinkled on those death-deep, death-dark wells splashed on the pavement by Serb mortar shells. The dark boy-shape leads dark girl-shape away to share one coffee in a candlelit café until the curfew, and he holds her hand behind AID flour-sacks refilled with sand.

The smell of hurrying passed my nostrils with the smell of sea water and fresh fish wind, there was history which had taught my eyes to look for escape even beneath the almond leaves fat as women, the conch shell tiny as sand, the rock stone old like water. I learned to read this from a woman whose hand trembled at the past, then even being born to her was temporary, wet and thrown half dressed among the dozens ofbrown legs itching to run.

None can contain the magnificence of a wave kissing sand or the perfect spiral of a shell drying translucent in the sun or the fire of morning rising over endless water.

Sand up my ass crack, crusty shells on my boobs. How does Ariel make this look so glamorous?

All his life, time had been passing in the only way he knew time to pass: unrushed and unrushable, as sands running through an hourglass grain by grain. And if the hourglass had been real, then in the bottom and neck—the past and the present—the sands of Lazlo’s life would be as gray as his robes, as gray as his eyes, but the top—the future—would hold a brilliant storm of color: azure and cinnamon, blinding white and yellow gold and the shell pink of svytagor blood. So he hoped, so he dreamed: that, in the course of time, grain by grain, the gray would give way to the dream and the sands of his life would run bright.

Shep-en-Mut The painted wooden face was known to me. She stood in the dusty museum sun, Painted eyes lengthened with kohl. Azure, terra-cotta, white, Emblazoned cartonnage. The Isis wings, spread in care and love. Curving protective Neckbet and Nepthys. Beneath, the corticated skin, Black bitumen. Eyeless, cracked and black, Dessicated viscera, wrapped apart. Leaving child and husband, moving through satin bands of shadow, Singing in the ecstatic sun. Feet hissing through the silken sand She carried the Milk Jar and a Palm frond, Worshipping and serving each day. This lady was the songstress of Amun-Re, Her songs curved upward in the great Temple of Thebes. The stone beauty of the face of the God above her frailty Gave her voice a scope of praise denied to our dessicated senses When death stooped on her, claws and beak ripped. Then feathers lay outstretched in love. Horus wings, Night Heron beak, Having slain, now standing guard in fearful phalanx. Leaving the echo between the roof trees. Her flesh must be pickled, cured with cinnamon and myrrh. The skull, frail as a blown egg, Emptied of its convolute majesty, Stuffed with delicate resinous rags. When the sucking natron has had its meal Her shell will taste the shriving sun and wind once more. Blow gently, shine kindly down, Amun-Re, on thy slave. She shall be wrapped in fine linen Layer on layer, and laced like a shoe. The last we shall see in linen and plaster and paint. May her journey be safe through the dark tunnels May her soul sing in light before her God, In soft peace. The holding wings enfold my friend. Priestess of Thebes. Singer of Amun-Re Bearer of the little Milk Jar.

Only shells collected from the sea could be crafted into necklaces to soothe anxious hearts. Every day, people crossed the threshold of their home. They settled into the nook of the guest room. They wept onto carefully curated shells, which would later be sanded and shaped into stars and worn as necklaces to soothe their suffering. There was an alchemy between the sea and the shells that her family had melded. Before her mother, the work had been her grandmother's. Before that, her grandmother's mother. Eight generations of Khanani women winding their way down to--- one day--- Yas. She'd once eagerly painted each star before it left their home. Delicate birds. Flowers. Yas had loved the work. The art of catching and cutting and sanding and smoothing.

Life on earth would not be worth much if every source of irritation were removed. Yet most of us rebel against the things that irritate us, and count as a heavy loss what ought to be rich gain. We are told that the oyster is wiser: that when an irritating object, like a bit of sand, gets under the "mantle" of his shell, he simply covers it with the most precious part of his being and makes of it a pearl. The irritation that it was causing is stopped by encrusting it with the pearly formation. A true pearl is therefore simply a victory over irritation. Every irritation that gets into our lives today is an invitation to pearl culture. The more irritations the devil flings at us, the more pearls we may have. We need only to welcome them and cover them completely with love, that most precious part of us, and the irritation will be smothered out as the pearl comes into being. What a store of pearls we may have, if we will!

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. My memory of Diana is not her at an official function, dazzling with her looks and clothes and the warmth of her manner, or even of her offering comfort among the sick, the poor, and the dispossessed. What I remember best is a young woman taking a walk in a beautiful place, unrecognized, carefree, and happy. Diana increasingly craved privacy, a chance “to be normal,” to have the opportunity to do what, in her words, “ordinary people” do every day of their lives--go shopping, see friends, go on holiday, and so on--away from the formality and rituals of royal life. As someone responsible for her security, yet understanding her frustration, I was sympathetic. So when in the spring of the year in which she would finally be separated from her husband, Prince Charles, she yet again raised the suggestion of being able to take a walk by herself, I agreed that such a simple idea could be realized. Much of my childhood had been spent on the Isle of Purbeck in Dorset, a county in southern England approximately 120 miles from London; I remembered the wonderful sandy beaches of Studland Bay, on the approach to Poole Harbour. The idea of walking alone on miles of almost deserted sandy beach was something Diana had not even dared dream about. At this time she was receiving full twenty-four-hour protection, and it was at my discretion how many officers should be assigned to her protection. “How will you manage it, Ken? What about the backup?” she asked. I explained that this venture would require us to trust each other, and she looked at me for a moment and nodded her agreement. And so, early one morning less than a week later, we left Kensington Palace and drove to the Sandbanks ferry at Poole in an ordinary saloon car. As we gazed at the coastline from the shabby viewing deck of the vintage chain ferry, Diana’s excitement was obvious, yet not one of the other passengers recognized her. But then, no one would have expected the most photographed woman in the world to be aboard the Studland chain ferry on a sunny spring morning in May. As the ferry docked after its short journey, we climbed back into the car and then, once the ramp had been lowered, drove off in a line of cars and service trucks heading for Studland and Swanage. Diana was driving, and I asked her to stop in a sand-covered area about half a mile from the ferry landing point. We left the car and walked a short distance across a wooded bridge that spanned a reed bed to the deserted beach of Shell Bay. Her simple pleasure at being somewhere with no one, apart from me, knowing her whereabouts was touching to see. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her.

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. And so, early one morning less than a week later, we left Kensington Palace and drove to the Sandbanks ferry at Poole in an ordinary saloon car. As we gazed at the coastline from the shabby viewing deck of the vintage chain ferry, Diana’s excitement was obvious, yet not one of the other passengers recognized her. But then, no one would have expected the most photographed woman in the world to be aboard the Studland chain ferry on a sunny spring morning in May. As the ferry docked after its short journey, we climbed back into the car and then, once the ramp had been lowered, drove off in a line of cars and service trucks heading for Studland and Swanage. Diana was driving, and I asked her to stop in a sand-covered area about half a mile from the ferry landing point. We left the car and walked a short distance across a wooded bridge that spanned a reed bed to the deserted beach of Shell Bay. Her simple pleasure at being somewhere with no one, apart from me, knowing her whereabouts was touching to see. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her. She set off at once, a tall figure clad in a pair of blue denim jeans, a dark-blue suede jacket, and a soft scarf wrapped loosely around her face to protect her from the chilling, easterly spring wind. I stood and watched as she slowly dwindled in the distance, her head held high, alone apart from busy oyster catchers that followed her along the water’s edge. It was a strange sensation watching her walking away by herself, with no bodyguards following at a discreet distance. What were my responsibilities here? I kept thinking. Yet I knew this area well, and not once did I feel uneasy. I had made this decision--not one of my colleagues knew. Senior officers at Scotland Yard would most certainly have boycotted the idea had I been foolish enough to give them advance notice of what the Princess and I were up to.

from Josie. Josie, smaller and more vulnerable than Emily, was buffeted by the waves. It took all her might to stand her ground. One hit her. Another came. A third slapped her down, dragging her into a whirlpool of sand and water. Josie was twisted head over heels, her small arms flailing, until she didn't know which way was up, or where down was. She hit the sand hard. Salt stung her shoulder where it was scraped bloody by shell and rock. Over and over again Josie was tumbled and dragged on the rocky bottom only to be sucked back up into the churning, crystalline bubble of water. She was suffocating. Death was around the corner. There was no savior in sight. She wanted her mother. Where was her mother, Josie wondered, as Hannah fought for her life?

St. Lawrence River May 1705 Temperature 48 degrees During the march, when Mercy was finding the Mohawk language such a challenge and a pleasure to learn, Ruth had said to Eben, “I know why the powwow’s magic is successful. The children arrive ready.” The ceremony took place at the edge of the St. Francis river, smaller than the St. Lawrence but still impressive. The spray of river against rock, of ice met smashing into shore, leaped up to meet the rain. Sacraments must occur in the presence of water, under the sky and in the arms of the wind. There was no Catholic priest. There were no French. Only the language of the people was spoken, and the powwow and the chief preceded each prayer and cry with the rocking refrain Listen, listen, listen. Joanna tugged at Mercy’s clothes. “Can you see yet?” she whispered. “Who is it? Is he from Deerfield?” They were leading the boy forward. Mercy blinked away her tears and looked hard. “I don’t recognize him,” she said finally. “He looks about fourteen. Light red hair. Freckles. He’s tall, but thin.” “Hungry thin?” worried Joanna. “No. I think he hasn’t got his growth yet. He looks to be in good health. He’s handsomely made. He is not looking in our direction. He’s holding himself very still. It isn’t natural for him, the way it is for the Indians. He has to work at it.” “He’s scared then, isn’t he?” said Joanna. “I will pray for him.” In Mercy’s mind, the Lord’s Prayer formed, and she had the odd experience of feeling the words doubly: “Our Father” in English, “Pater Noster” in Latin. But Joanna prayed in Mohawk. Mercy climbed up out of the prayers, saying only to the Lord that she trusted Him; that He must be present for John. Then she listened. This tribe spoke Abenaki, not Mohawk, and she could follow little of it. But often at Mass, when Father Meriel spoke Latin, she could follow none of it. It was no less meaningful for that. The magic of the powwow’s chants seeped through Mercy’s soul. When the prayers ended, the women of John’s family scrubbed him in sand so clean and pale that they must have put it through sieves to remove mud and shells and impurities. They scoured him until his skin was raw, pushing him under the rough water to rinse off his whiteness. He tried to grab a lungful of air before they dunked him, but more than once he rose sputtering and gasping. The watchers were smiling tenderly, as one smiles at a new baby or a newly married couple. At last his mother and aunts and sisters hauled him to shore, where they painted his face and put new clothing, embroidered and heavily fringed, on his body. As every piece touched his new Indian skin, the people cheered. They have forgiven him for being white, thought Mercy. But has he forgiven them for being red? The rain came down harder. Most people lowered their faces or pulled up their blankets and cloaks for protection, but Mercy lifted her face into the rain, so it pounded on her closed eyes and matched the pounding of her heart. O Ruth! she thought. O Mother. Father. God. I have forgiven.

This [sand-dollar hunting] had become one of our rituals together, and though she would search for other varieties of shells when I was out of town or unable to see her, she would wait until I appeared on her front porch before setting off to extract these mute delicate coins from their settings in the sand. At first, we had collected only the larger specimens, but gradually as we learned what was rare and to be truly prized, we began to gather only the smallest sand dollars for our collection. Our trophies were sometimes as small as thumbnails and as fragile as contact lenses. Annie Kate collected the tiniest relics, round and cruciform and white as bone china when dried of sea water, and placed them in a glass-and-copper cricket box in her bedroom. Often we would sit together and admire the modest splendor of our accumulation. At times it looked like the coinage of a shy, diminutive species of angel. Our quest to find the smallest sand dollar became a competition between us, and as the months passed and Annie Kate grew larger with the child, the brittle, desiccated animals we unearthed from the sand became smaller and smaller. It was all a matter of training the eye to expect less.

Cheobawn froze. The Dark of the Moons. Spider’s children knew of this time as well. It was the one night, in spring, as the snows melted from the high places, when the double moons stayed hidden from sight. It was the night that only occurred every thirty years, when Spider’s children awoke in their shells buried in the warm sand of a thousand nameless beaches on the shores of a thousand nameless seas on a thousand nameless planets. It was the night they remembered that they needed to go home, home to the shallow, salty ocean named Orson’s Sea by a race of humans who had thought themselves immune to the rules of the patterning of the place upon which they stood.

This beach I voyage on leads me through the earth's immortal consistencies. Each form I encounter obeys the principles of perfection and trial, a timelessness in the making. The proportions of truth are at hand. Existence is celebrated in a splinter of driftwood, worn by wind-driven sand into the shape of an arrow. The onshore waves jostle each other, busy with their eternal changing, mixing crab shells, sand grains, and fish bones together. The trim little shorebirds feeding at the water's edge are acutely aware of one another, under the light and shadow leaning and drifting over all awareness. Wither own mysteries behind their beady eyes, their quick, advantageous movements, they follow the great, unifying sea." ~ John Hay. Bird of Light.

Joost was right—after Mick dumped me—I’d stayed there for days, scrubbed from the sand, in bed, staring at the broken shells I kept collecting. It had stormed. A piece of the beach was missing. The beach huts were still standing. But someday the rising sea would swallow them. I was waiting for it. Submerge me. Drown me, see if I care.

Spaghetti del mare," she said, coming through the door, "from the sea." In the large, wide blue bowl, swirls of thin noodles wove their way between dark black shells and bits of red tomato. "Breathe first," Charlie told him, "eyes closed." The steam rose off the pasta like ocean turned into air. "Clams, mussels," Tom said, "garlic, of course, and tomatoes. Red pepper flakes. Butter, wine, oil." "One more," she coaxed. He leaned in- smelled hillsides in the sun, hot ground, stone walls. "Oregano," he said, opening his eyes. Charlie smiled and handed him a forkful of pasta. After the sweetness of the melon, the flavor was full of red bursts and spikes of hot pepper shooting across his tongue, underneath, like a steadying hand, a salty cushion of clam, the soft velvet of oregano, and pasta warm as beach sand.

As she piped rosettes, docked a sheet of dough, or doused a tart with sanding sugar, another world occurred on the doorstep. Now Avis answers the door herself and leads surprised delivery people into the front entrance, across the living room, and through the heavy swinging door to her kitchen. She almost enjoys the contact with the outside world. On Monday, there is a Colombian man who delivers free-range eggs and unpasteurized milk that glows like satin. Tuesdays, a woman from Lima bring special concoctions of candied lilacs and fruit peels and 'gelees,' and later a young boy comes with a box filled with dried starfruit and bananas and fresh tea, mint and sage from his father's botanical garden in the Redlands. She asks and forgets everyone's names, but next week, she thinks, she'll ask again. Some deliveries- like those from her son's market- come every week, others- like the fig balsamic vinegar- were special-ordered to accompany a single chocolate strawberry ice cream cake.

I’ll take over from here.” “Take over?” Leigh asked with amusement. “You did most of it to begin with.” Valerie shrugged and grabbed a ladle to give the chili a stir, saying lightly, “You can return the favor when I’m pregnant.” Anders stared at Valerie, her words reverberating in his head. When she was pregnant? He immediately started to imagine just that, Valerie glowing and beautiful, her belly rounded with his child. “Has she agreed to be your life mate?” Anders glanced to Greg at that soft question and then turned back to look at Valerie as he shook his head. “Well, whether she realizes it or not, she’s accepted what we are and isn’t afraid of us. I think you can thank Leigh for that,” Greg added. “Leigh?” he asked with surprise. He’d been rather hoping it was him. “Sorry, Anders, but that’s not how a woman’s mind works. You’re a dark, mysterious, and sexy vampire to her, and none of those words are equated with trust and feeling safe,” he pointed out dryly, and then added, “But Leigh . . .” Greg glanced to the woman and smiled crookedly. “She’s the most non-threatening vampire on the planet right now. Valerie can see herself in Leigh. It will help you that they are becoming good friends. I think she’ll choose you in the end.” Anders grunted. He hoped Greg was right. He’d been alone a long time and never really minded until she’d come into his life. Now he didn’t even want to contemplate a future without her in it.

Plastic does take one form, recently discovered, that may in fact last if not forever then for a significant amount of geological time. Some washes up on beaches and ends up in bonfires. In 2006, a strange new kind of rock was discovered on some Hawaiian beaches containing melted plastic binding together bits of rock, sand, shell, and other materials. Some of this tough material, now called plastiglomerate, will become buried and last for many millions of years, a new rock type that has suddenly appeared in Earth’s strata, marking the time when people built things of plastic, scattered them widely, and sometimes burned them on beaches for celebration or warmth. The plastic

After I put on my coat, I turn and whisper to Camille: “Just a minute.” In the living room, I leave a wide space between myself and the recliner where Cookie’s sitting, knowing that distance from her is the only thing that has kept me both physically and emotionally safe. Wearing a blue flannel shirt, black stretch pants, and a scowl, she slowly meets my eyes. The TV’s reflection flashes off the lenses of her huge, shaded eyeglasses. “Good-bye,” I tell her. It comes out cold and flat. When she responds with silence, I nod. This is all I’ll get. Cherie opens the front door, and Camille and I exit with her. When the three of us get to the train station, we all break down in tears. It’s a cry of anger for our mother’s failure to take responsibility, for the unfairness of having had no say in choosing who brought us into this world . . . and for our relief knowing that soon she’ll be gone, for good.

She soaked, washed, and trimmed three artichokes, baby purple Romagnas, which would sadly lose their beautiful hue once they hit hot water, then washed and peeled a bunch of pencil-thin asparagus. She pulled out several small zucchini and sliced them into translucent moons. She washed three leeks, slicing them down their centers and peeling back each layer, carefully rinsing away any sand, then chopped the white, light green, and some of the darker parts into a fine dice. She shelled a couple handfuls of spring peas, collecting them in a ceramic bowl. She chopped a bulb of fennel and julienned one more, then washed and spun the fronds. She washed the basil and mint and spun them dry. Last, she chopped the shallots. With the vegetables prepped, she started on the risotto, the base layer for the torta a strati alla primavera, or spring layer cake, she'd been finessing since her arrival, and which she hoped would become Dia's dish. She'd make a total of six 'torte': three artichoke and three asparagus. The trick was getting the risotto to the perfect consistency, which was considerably less creamy than usual. It had to be firm enough to keep its shape and support the layers that would be placed on top of it, but not gummy, the kiss of death for any risotto. She started with a 'soffritto' of shallot, fennel, and leek, adding Carnaroli rice, which she preferred to arborio, pinot grigio, and, when the wine had plumped the rice, spring-vegetable stock, one ladle at a time. Once the risotto had absorbed all the liquid and cooked sufficiently, she divided it into six single-serving crescent molds, placed the molds in a glass baking dish, and popped them all in the oven, which made the risotto the consistency of a soft Rice Krispies treat. Keeping the molds in place, she added the next layer, steamed asparagus in one version, artichoke in the other. A layer of basil and crushed pignoli pesto followed, then the zucchini rounds, flash-sauteed, and the fennel matchsticks, cooked until soft, and finally, the spring-pea puree. She carefully removed the first mold and was rewarded with a near-perfect crescent tower, which she drizzled with red-pepper coulis. Finally, she placed a dollop of chilled basil-mint 'sformato' alongside the crescent and radiated mint leaves around the 'sformato' so that it looked like a sun. The sun and the moon, 'sole e luna,' all anyone could hope for.

Such as a grain of sand easily penetrates the shell of an oyster, so does evil have the potential to enter and grow in any 176 being. How do we fight this when we are surrounded by sand? As sand surrounds the oceans of earth, so does evil surround all beings. We cannot fight against the sand! It is not the sand in our shells that we should fight against but what we do with the sand that enters us that matters.

Such as a grain of sand easily penetrates the shell of an oyster, so does evil have the potential to enter and grow in any being. How do we fight this when we are surrounded by sand? As sand surrounds the oceans of earth, so does evil surround all beings. We cannot fight against the sand! It is not the sand in our shells that we should fight against but what we do with the sand that enters us that matters.

OLOTB: You should look at it under a microscope. Bailey: Look at what? OLOTB: The sand. You'd think it would be boring bits of gray nothingness, but it's not. It's minerals--quartz, fragments of sea shells, all sorts of delightful things. Exquisite, really. Bailey: So, I just ran across a bunch of minerals? OLOTB: Who'd have thought you were tromping on such beauty?

The Marina, after all, is not just the most important landmark of Chennai but also a temple by itself—the sea being the presiding deity, always reminding you that no matter how powerful you may think yourself to be, it considers you no different from the shell of tender coconut lying on the sands. By

I am thinking of our family's women as faraway bulbs, their history with crippling loss, and how I am pieced together, shell and sand, from the spine of their collective strength.

You see, the world is as big as an elephant or small as a grain of sand, depending on you. You can let it stomp you, gore you, swallow you up. Or you can let it slip into your shell and turn into a pearl.” -- Benjamin East

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Meridith stepped down from the chair and scooted it a few feet. “Let me.” Jake took the string and looped it over the hooks one at a time. It took him two minutes to finish the porch. “Show-off,” she said. “Being tall has its benefits.” And being strong. Words of gratitude formed in her mind, but it took a moment to order them. “I never thanked you last night.” He scratched behind Piper’s ears. “No need.” He plugged the lights in the wall outlet, and they glowed dimly. “Hopefully there’s a wall switch inside.” “I mean it, Jake. I don’t know what I would’ve done.” Heat worked into her cheeks. She pulled a cornflower blue pail from the box and set it on one of the tables. “Your arms . . .” She looked down, noticing the bruises. Brownish-gray blotches, Sean’s fingerprints on her skin. She rubbed the spots, wishing she could wipe them away. Seeing them there, she could almost feel Sean’s grip on her, feel the helplessness welling up. “I should’ve beat the kid to a pulp.” Jake’s fists clenched. “He’s long gone. That’s all that matters.” “He should’ve been arrested.” “I don’t think he meant to—to attack me that way. We stumbled, and he fell on me.” “You’re wearing evidence that says otherwise.” He had a point. And the night before, sand grinding into her back, she’d been convinced she was in danger. “Don’t like the idea of you and the kids here alone.” “Aren’t you the one who thought the partitions were silly?” “Never said that.” “Didn’t have to.” She gave a wry smile. She was pretty good at reading people. Like just now, he was thinking she was right. “Maybe I did.” He leaned a shoulder on the shingled wall, looking every bit as cocky as he had that first day he’d turned up on her doorstep. It didn’t bother her just this minute. “I know I said I was done with the repairs, but what would you think of finishing the ones that aren’t too costly?” His gaze intensified. “Really?” Meridith collected a basket and began filling it with shells. “You mentioned the fireplace. I’d like to get it working again. We have tree branches hitting the house, a couple trees that a stiff wind would blow over—if you do that kind of work. Not to mention the other things on the list.” Jake walked to the railing, staring out to sea. When Piper joined him, Jake ruffled her fur. Maybe he didn’t want to stay now. Maybe having the kids underfoot all week had been a pain. Maybe he’d been offended at the way she’d confronted him about being alone with Noelle—a notion that now seemed ludicrous in light of the way he’d come to her rescue. “I mean, if you can’t, that’s all right. You probably have other work lined up.” It was only a couple months. They’d be safe that long, right? She saw Sean’s hardened face, heard the bitter slur of his words, and shuddered. “I’ll stay.” “Are you sure?” Her words rushed out. “Glad to.” She smiled. “All right then.” He straightened, winked, and she felt it down to her bones. “Back

It was only outside in the sun and heat that she began to feel the weight of what she had done. Her feet were terribly hot and slipping in her shoes, and the sand worked its way in. With each step she fell more into herself, and her stomach roiled with the curdled truth of her betrayal. I can see you, she imagined God saying. The basket of eggs hit her hip and one shell cracked, freeing yolk and white into a slippery mess, which dripped through the wicker and landed in thick shiny drops on her skirt. * 

Once upon a time, somewhere miles and miles beneath the surface of the ocean, there lived a young octopus named Nina. Nina spent most of her time alone making strange creations out of rocks and shells. And she was very happy. But then on Monday the shark showed up. “What’s your name?” said the shark. “Nina,” she replied. “Do you want to be my friend?” he asked. “OK. What do I have to do?” said Nina. “Not much,” said the shark, “just let me eat one of your arms.” Nina had never had a friend before, so she wondered if this was what you had to do to get one. She looked down at her eight arms and decided it wouldn’t be so bad to give up one. So she donated an arm to her wonderful new friend. Every day that week, Nina and the shark would play together. They explored caves, built castles of sand, and swam really, really fast. And every night the shark would be hungry, and Nina would give him another one of her arms to eat. On Sunday, after playing all day, the shark told Nina that he was very hungry. “I don’t understand,” she said, "I’ve already given you six of my arms, and now you want one more?” The shark looked at her with a friendly smile and said, “I don’t want one. This time I want them all.” “But why?” Nina asked. And the shark replied, “Because that’s what friends are for.” When the shark finished his meal, he felt very sad and lonely. He missed having someone to explore caves, build castles, and swim really, really fast with. He missed Nina very much. So he swam away to find another friend.

I can’t look. I lied. I’m not a tough girl. I’m a lap cat who likes to take sun naps. I certainly don’t live for danger. I set the poor thing down on the sand. Hopefully, she’ll run for cover.

It was as if cowslips and cow-droppings mingled with sea-horses and cowry-shells.

Today, on the sands of Tượng Lâm, there loom two vast bronze columns. General Ma Yuan, who erected them, said that the Hán will rule in this land as long as they stand. Yet the shift in the fortunes of women and men is as swift as the darting of the black-winged kite, soaring in one direction, then jinking suddenly in another. The work of nature upon us is more patient and, like the crawl of the snail, seems to leave only a faint trail behind it. Yet the shell endures, emptied of its life, to be worked on by the elements until it is indistinguishable from a rock, until it, too, joins with the grains on the beach.

King Enki inclined his head, making the light glint off of the smooth opalescent circle of his crown—which probably would’ve been an impressive accessory if Sophie weren’t so familiar with the creepy giant sand crab creature the shell came from. She could remember too many spindly, flailing legs to ever find it pretty.

walking along a lonely beach, seen a beautiful shell lying in the sand, but had passed it by; and now, on her return, there it was again, waiting for her to pick it up in her fingers.

Blazing bamboo torches lit the way to the tiki hut beside Sarasota Bay at Mote Marine Aquarium. The thatch-roofed pavilion sheltered wooden picnic tables wrapped with raffia skirting and crowned with centerpieces of conch shells filled with sprays of orchids. Potted palms and red hibiscuses had been placed around the perimeter of the outdoor room. The atmosphere was redolent with roasting pork and salt air. "This is ridic!" exclaimed Piper. "We're never leaving." She scooped a watermelon margarita garnished with a paper umbrella from the tray of a passing server. Jack helped himself to a Captain Morgan on the rocks. "To us," he said, raising his glass. Trays of skewered beef teriyaki and sweet-and-sour chicken were passed.

dragonet squeaked with fear and surprise. It tried to turn, looking for a comforting figure, but the human used the stick to force it to the ground. “I don’t need to see this,” Luna said as Dusky buried his face in her neck again. She covered his ears so he wouldn’t have to hear it either. “I don’t want to see this. Show us something else, please.” The human prodded the dragonet with a different stick, then shoved it back onto its feet. The dragonet staggered in the sand, hissing, and snapped its teeth at the human. Brave little dragon, trying to fight back already, Luna thought. She remembered Coyote’s words about “mauled faces,” and she hoped many humans here had been clawed by their small captives. But it was awful, too, that the dragonets climbed out of their shells directly into violence and pain. They shouldn’t have had to use their teeth and claws yet. They should have had time to be taken care of first.

We are not what we might be; what we are Outlaws all extrapolation Beyond the interval of now and here: White whales are gone with the white ocean. A lone beachcomber squats among the wrack Of kaleidoscopic shells Probing fractured Venus with a stick Under a tent of taunting gulls. No sea-change decks the sunken shank of bone That chuckles in backtrack of the wave; Though the mind like an oyster labors on and on, A grain of sand is all we have. --from "Two Lovers and a Beachcomber by the Real Sea

The pearl inside its shell forms from the irritation of the sand in the same way our pains and difficulties eventually form our most authentic selves.

(voiceover, slow fade to black) And so I stayed, nine months in a room where the air barely moved and the days slipped like melting film frames, no taper, no consent, just the great severing—one moment I was a man, and the next I was something else entirely, twitching in a shell, my muscles screaming in forgotten tongues—dystonia, akathisia, the cruel choreography of withdrawal that dances even when no one’s watching, and they weren’t, because by then the footage had been taken, the books erased, the houses emptied, the names unspoken, and the faces—God, the faces—just shimmered like heat in an empty field, and the contracts were voided by vanishing acts, and every archive, every masterpiece, every sentence I carved from bone was swallowed by men who said they’d help and left when the lights dimmed, and I watched the systems collapse, passwords vanish, deliveries stop, the world closing its door with a soft, polite click, and I made the calls—I made all the calls—and they never came back, and maybe they never existed, or maybe I never did, and now I lie here not waiting, not hoping, just drifting in the beautiful machinery of a body I no longer command, still asking for redress, for continuity, for the return of a name, for some kind of line in the sand to stop the next erasure, even if I know this isn’t a plea, it’s not even survival anymore—it’s just the last reel burning in reverse, the story folding in on itself, the dream telling me gently: you were here once, you made something, and even if they don’t remember it—you did. (silence) (credits roll)

There was the long-buried smell of home--- not the smell of the cottage in Armagh, with the hearth that she had yet to sweep and the stain of poitín in the air. Instead there was the briny tang of the sea, the sweet rot of fish guts. Her mother's scent, sun-baked sand and the gritty insides of shells.

Inland Florida was not the Florida of blue ocean, white sand, and crushed-white-shell parking lots. It was a land sun bleached and sickened after too many droughts and wildfires.

Her skin is soft and delicate, like granules of sand that I would thread between my fingers. However my fear in that like the sand, she'll slip through my fingers and all I'll have of her is this single moment.

As a child, Lena had pored over pictures of tropical beaches in faraway lands, beaches where sand lay smooth and warm as a blanket. Those were not the beaches of Knob Knoster. She sifted crushed rock, bits of shell, and glass through her fingers. Everything around her was muted in shades of gray—water, sky, and land. She breathed in the distinctive smell of fish and tar. Waves licked the stony shore of the harbor and crashed against the riprap of a jetty. And Lena found that she was listening, as if the wild call of the ocean was familiar. It filled her with strange longings for adventure, longings Nana Crane would say no civilized girl should ever have. Her heart beat faster. Lena tried not to listen, afraid the ocean might call her name.

Archaic myths from many parts of Europe (and around the world) refer to this event by mention of bright new stars which fell to Earth as seven flaming mountains, of how the oceans rose up in vast waves and totally engulfed the lands, and how summer was driven away with a cold darkness that lasted several years. In support of the mythological accounts of the vast waves covering the lands it is important to mention that many of the highest mountains in England, Scotland, and Ireland are littered with beds of sand and gravel containing sea shells deposited in the very recent geological past. Geology also gives irrefutable evidence that at two times in the recent past, around 7640 BC and 3100 BC, there have been complete reversals of the Earth's magnetic field caused by an outside influence, most probably a comet.

To the east the land was darkening. Night does not fall. It rises from the earth as the sun sinks low, sets, and embraces the land with its shadow. How could I describe this place? Words could only be read and the scene imagined. Even a photo could only be seen. It would not include the sound of the water on the stones, the scent of the spruce trees, the coolness of sea wrack under my hand, or the weary satisfaction of just sitting there after paddling six hours that day, and six weeks before that. The size of these islets and their details of sand, shell and rock beach, grass, driftwood, and flowers, the small woods back of the shore – these are proportioned to kayaks and close-ups, not big cruise ships or ferries. Those get a far outline of the shore, but their only close-ups are of the docks and the towns. This country is made for the pace of a kayak.

They picked up shells and sea glass, pebbles smooth and white. The wind blew and the surf hissed warm over their toes, sucked the sand from under their soles. The rhythm, the pulse of the sea soothed and electrified.

He could talk at length about the known invasive species, and why there were so many different ones: the weblike filaments choking the trees in New Orleans, the flame-colored poppies erupting on Mexico City rooftops, the green fins popping up in Florida beach sand like sharks coming ashore. Every shell that struck Earth, and some that hit the surface of the water, cracked and sent millions of seeds into the air or into the oceans.