Scenery Life Quotes

Wasn't that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn't everything else just scenery?

Slow down and enjoy life. It's not only the scenery you miss by going too fast - you also miss the sense of where you are going and why.

Memory is a funny thing. When I was in the scene, I hardly paid it any mind. I never stopped to think of it as something that would make a lasting impression, certainly never imagined that eighteen years later I would recall it in such detail. I didn't give a damn about the scenery that day. I was thinking about myself. I was thinking about the beautiful girl walking next to me. I was thinking about the two of us together, and then about myself again. It was the age, that time of life when every sight, every feeling, every thought came back, like a boomerang, to me. And worse, I was in love. Love with complications. The scenery was the last thing on my mind.

Life passes by now like the scenery outside a car window. I breathe and eat and sleep as I always did, but there seems to be no great purpose in my life that requires active participation on my part...I do not know where I am going or when I will get there.

I always feel as if I'm struggling to become someone else. As if I'm trying to find a new place, grab hold of a new life, a new personality. I suppose it's part of growing up, yet it's also an attempt to re-invent myself. By becoming a different me, I could free myself of everything. I seriously believed I could escape myself - as long as I made the effort. But I always hit a dead end. No matter where I go, I still end up me. What's missing never changes. The scenery may change, but I'm still the same old incomplete person. The same missing elements torture me with a hunger that I can never satisfy. I think that lack itself is as close as I'll come to defining myself.

Lust is a value. We can experience, miss, or lose it or sometimes retrieve it after its surreptitious fading away. In any event, if we treasure it and take it for a regular walk through the garden of our imagination, it will let us discover the most imaginary illuminating sceneries of life. ("Steps in the unknown")

The thing he hadn’t realized about success was that success made people boring. Failure also made people boring, but in a different way: failing people were constantly striving for one thing—success. But successful people were also only striving to maintain their success. It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas.

He must have driven this way countless times, and yet he had no memory of the scenery. He must have been so caught up in the day's agenda, and arriving punctually at their destination, that the land beyond the car had been no more than a wash of one green, and a backdrop of one hill. Life was very different when you walked through it.

The key to a better life isn't always a change of scenery. Sometimes it simply requires opening your eyes.

The future was going to happen, even if he wasn’t ready for it. Even if he was never ready for it. At least he could make sure he was with the right person. Wasn’t that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn’t everything else just scenery?

It is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an interruption of the audience on to the stage, and all our carefully planned gesture mean nothing, or mean too much.

Life is like a dogsled race. If you ain't the lead dog, the scenery never changes.

We repeat our everyday life, repeat it again and again, and get used to that speed. Therefore, every now and then, we should also have a dead run to change the scenery around us.

When we die, as when the scenes have been fixed on to celluloid and the scenery is pulled down and burnt — we are phantoms in the memories of our descendants. Then we are ghosts, my dear, then we are myths. But still we are together. We are the past together, we are a distant past. Beneath the dome of the mysterious stars, I still hear your voice.

I began my studies with eagerness. Before me I saw a new world opening in beauty and light, and I felt within me the capacity to know all things. In the wonderland of Mind I should be as free as another [with sight and hearing]. Its people, scenery, manners, joys, and tragedies should be living tangible interpreters of the real world. The lecture halls seemed filled with the spirit of the great and wise, and I thought the professors were the embodiment of wisdom... But I soon discovered that college was not quite the romantic lyceum I had imagined. Many of the dreams that had delighted my young inexperience became beautifully less and "faded into the light of common day." Gradually I began to find that there were disadvantages in going to college. The one I felt and still feel most is lack of time. I used to have time to think, to reflect, my mind and I. We would sit together of an evening and listen to the inner melodies of the spirit, which one hears only in leisure moments when the words of some loved poet touch a deep, sweet chord in the soul that until then had been silent. But in college there is no time to commune with one's thoughts. One goes to college to learn, it seems, not to think. When one enters the portals of learning, one leaves the dearest pleasures – solitude, books and imagination – outside with the whispering pines. I suppose I ought to find some comfort in the thought that I am laying up treasures for future enjoyment, but I am improvident enough to prefer present joy to hoarding riches against a rainy day.

Don't close your door when someone walks away. Your wounds will heal and summer wind will dry your tears. Don't close your heart, surrender to the sea of silky rose petals and let the sun tickle you. Don't lose hope, life still believes in you. Darling, raindrops are nothing but diamonds tears from heaven and when your sky is cloudy, stars are painting sparkly scenery for you. Be patient.

Your life isn't some prerecorded movie where, no matter how many times you watch it, the ending remains the same. Your life is a book in progress, and you are the author. So if you don't care for the main character or the gloomy scenery or how the twisted plot is unfolding, then do something to change it. You write your own story.

I was at that age, that time of life when every sight, every feeling, every thought came back, like a boomerang, to me. And worse, I was in love. Love with complications. Scenery was the last thing on my mind.

It was one of those dreams which, while retaining the characteristic dream scenery, are a continuation of one’s intellectual life, and in which one becomes aware of facts and ideas which still seem new and valuable after one is awake.

When you tidy your space completely, you transform the scenery. The change is so profound that you feel as if you are living in a totally different world.

If the years of youth are experienced slowly, while the later years of life hurtle past at an ever-increasing speed, it must be habit that causes it. We know full well that the insertion of new habits or the changing of old ones is the only way to preserve life, to renew our sense of time, to rejuvenate, intensify, and retard our experience of time—and thereby renew our sense of life itself. That is the reason for every change of scenery and air..

The Chinese say that there is no scenery in your home town. They’re right. Being in another place heightens the senses, allows you to see more, enjoy more, take delight in small things; it makes life richer. You feel more alive, less cocooned.

What is there to see if I go outside? Don't tell me. I know. I can see other people. I don't want to see other people. They look awful. The men look like slobs and the women look like men. The men have mush faces framed by long hair and the women have big noses, big jaws, big heads, and stick-like bodies. That depresses me. Its no fun to people-watch anymore because there's so little variety in types. You say it's good to get a change of scenery. What scenery? New buildings? New cars? New freeways? New shopping malls? Go to the woods or a park? I saw a tree once. The new ones look the same, which is fine. I even remember what the old ones look like. My memory isn't that short. But it's not worth going to see a squirrel grab a nut, or fish swimming around in a big tank if I must put up with the ugly contemporary human pollution that accompanies each excursion. The squirrel may enliven me and remind me of better vistas but the price in social interaction isn't worth it. If, on my way to visit the squirrel, I encounter a single person who gains stimulation by seeing me, I feel like I have given more than I've received and I get sore. If every time I go somewhere to see a fish swimming, I become someone else's stimulation, I feel shortchanged. I'll buy my own fish and watch it swim. Then, I can watch the fish, the fish can watch me, we can be friends, and nobody else interferes with the interaction, like trying to hear what the fish and I are talking about. I won't have to get dressed a certain way to visit the fish. I needn't dress the way my pride dictates, because who's going to see me? I needn't wear any pants. The fish doesn't care. He doesn't read the tabloids. But, if I go out to see a fish other than my own, I'm right back where I started: entertaining others, which is more depleting than visiting the new fish is entertaining. Maybe I should go to a coffee house. I find no stimulation in watching ordinary people trying to put the make on other uninteresting people. I can fix my own cup of coffee and not have to look at or talk to other people. No matter where I go, I stimulate others, and have been doing so all my life. It used to be I'd sometimes get stimulated back.

People think of heaven as a paradise garden, a place where they can float on clouds and laze in rivers and mountains. But scenery without solace is meaningless. - This is the greatest gift God can give you: To understand what happened in your life. To have it explained. It is the peace you have been searching for.

I romanticize life the way artists see scenery or a dreamer gazes up at the stars.

Life is like a dog sled team. If you ain't the lead dog, the scenery never changes.

Life has its ups and downs. When you are up, enjoy the scenery. When you are down, touch the soul of your being and feel the beauty.

Slow down and enjoy life. It’s not only the scenery you miss by going too fast—you also miss the sense of where you are going and why.

Life is a heck of a battlefield, but I gotta say, the scenery is totally worth it.

I ease into the idea of letting go of control and simply let life take the reins. And when I don't hold it so tightly, it doesn't thrash against me so wildly. It calms to a trot and allows me to take in the scenery, experience love, and learn what is important in this world: people, places, memories—not things or perceptions.

Life can be reset, it seems to say; time can be separated. But that logic appears to me as unlikely as traveling to another place to become a different person. Altered sceneries are at best distractions, or else new settings for old habits. What one carries from one point to another, geographically or temporally, is one’s self. Even the most inconsistent person is consistently himself.

The people that understand you the most are not always the people you call family. Often, it is the person that has traveled a parallel road because they have seen the same scenery in life and can comment on the view.

Traveling don't just captures beautiful scenery but it also captures life's stories

Much as I admired the elegance of physical theories, which at that time geology wholly lacked, I preferred a life in the woods to one in the laboratory.

How frail the bloom, how short the stay That terminates us all! Today we flourish green and gay, Like leaves tomorrow fall.

Walking at night is like walking in a dream. It's dark, so I don't notice much of the scenery. I don't wear my watch, so time becomes meaningless.

Been to yesterdays, lived through todays. Looking on toward tomorrows - new characters, new plays. The whys of life change, and so do ways, new scenery is built, to fill an empty stage.

To us he's like... like scenery, in the background of our lives, but for him, he's the main character. He has a life and a job and a whole story. He's a real person. And to him, we're the background scenery.

I was living someone else's life, not my own. How much of this person I called myself was really me? And how much was not? These hands clutching the steering wheel - what percentage of them could I really call my own? The scenery outside - how much of it was real? The more I thought about it, the less I seemed to understand.

Life is a one-way journey, so enjoy the scenery.

Slow down and enjoy life. It’s not only the scenery you miss by going too fast – you also miss the sense of where you are going and why.

Sitting on the train I watch the scenery speeding by, notice a cobweb in the top corner of the window, undulating with a gentle breeze I can’t feel. I lean back in my seat and take my book out of the carrier bag. Turning it over in my hand, it feels warm. It feels how I want to feel; full of knowledge, full of the future. The time I’ve spent staying in bed smoking dope I’ve been hibernating, recuperating and gaining strength. I’m weak socially, but being away from other drug users has made me resilient. It’s allowed my mind and body to heal and mend. As if the winter is over, I’ve come out stronger now. I’m on my own. I have the choice of what to do with my life. I’m going to stay clean. I’m going to be the woman I can be.

You know, you’ve set a really bad precedent for first dates,” I said. “How is anyone ever going to top this?” I turned to him for the first time. He was watching me, not the scenery. “I brought you here because I wanted to see the look on your face when you saw this place.” He smiled, and my heart flipped over. “It was worth the trip.

The people we invite on the train are those with whom we are prepared to be vulnerable and real, with whom there is no room for masks and games. They strengthen us when we falter and remind us of the journey’s purpose when we become distracted by the scenery. And we do the same for them. Never let life’s Iagos—flatterers, dissemblers—onto your train. We always get warnings from our heart and our intuition when they appear, but we are often too busy to notice. When you realize they’ve made it on board, make sure you usher them off the train; and as soon as you can, forgive them and forget them. There is nothing more draining than holding grudges.

The first serious consciousness of Nature's gesture - her attitude towards life-took form then as a phantasm, a nightmare, all insanity of force. For the first time, the stage-scenery of the senses collapsed; the human mind felt itself stripped naked, vibrating in a void of shapeless energies, with resistless mass, colliding, crushing, wasting, and destroying what these same energies had created and labored from eternity to perfect.

Wasn’t that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn’t everything else just scenery?

Evening Primrose When once the sun sinks in the west, And dewdrops pearl the evening's breast; Almost as pale as moonbeams are, Or its companionable star, The evening primrose opes anew Its delicate blossoms to the dew; And, hermit-like, shunning the light, Wastes its fair bloom upon the night, Who, blindfold to its fond caresses, Knows not the beauty it possesses; Thus it blooms on while night is by; When day looks out with open eye, Bashed at the gaze it cannot shun, It faints and withers and is gone.

Sorry we couldn’t do this sooner, but, you know, I’ve got a lot of jobs to juggle.” He winked in the mirror. “Anyway, you’ll learn this on your own, but it’s worth telling you. Life is a heck of a battlefield, but I gotta say, the scenery is totally worth it.

Indoors herself, partaking of tea with old Mrs Butterworth, she reflected that it is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an irruption of the audience onto the stage, and all our carefully planned gestures mean nothing, or mean too much.

Life is a one-way journey, so don't wait for the destination, but enjoy the scenery.

Within two or three years of World War II's end, starvation had been basically eliminated in Japan, and yet the Japanese had continued slaving away as if their lives depend on it. Why? To create a more abundant life? If so, where was the abundance? Where were the luxurious living spaces? Eyesores dominated the scenery wherever you went, and people still crammed themselves into packed commuter trains each morning, submitting to conditions that would be fatal for any other mammal. Apparently what the Japanese wanted wasn't a better life, but more things.

Standing in the back of the dark opera house and gazing at the huge stage before them, gay with gold-scrolled scenery and sumptuously costumed singers, the air vivid with bright music, was one of the most enthralling experiences of Blanche's life. For a time, she forgot her doubts about reality in the sheer delight of illusion. But, as Rose reminded her during the intermission, perhaps it wasn't illusion. Perhaps it was a glimpse of what reality was really like.

I see many people who disguise themselves. I know some people who say, “I’m an artist, I’m very creative, I’m different from ordinary people.” But I don’t believe those people. I like to see the strangeness or weirdness in ordinary people or ordinary scenery or ordinary, everyday life.

Along the way I stopped into a coffee shop. All around me normal, everyday city types were going about their normal, everyday affairs. Lovers were whispering to each other, businessmen were poring over spread sheets, college kids were planning their next ski trip and discussing the new Police album. We could have been in any city in Japan. Transplant this coffee shop scene to Yokohama or Fukuoka and nothing would seem out of place. In spite of which -- or, rather, all the more because -- here I was, sitting in this coffee shop, drinking my coffee, feeling a desperate loneliness. I alone was the outsider. I had no place here. Of course, by the same token, I couldn't really say I belonged to Tokyo and its coffee shops. But I had never felt this loneliness there. I could drink my coffee, read my book, pass the time of day without any special thought, all because I was part of the regular scenery. Here I had no ties to anyone. Fact is, I'd come to reclaim myself.

I think we worship these stories of leaving it all behind and going somewhere new, but I’m beginning to see that every one of those stories has the same truth holding up this romantic idea of leaving: The stuff you’re not facing will follow you. It will get in the car too. It will pack a bag too. Leaving isn’t the key; changing is. I’m learning that life isn’t about the destinations we can boast about getting to; it’s about all the walking in between that feels pointless when you try to take a picture of it because no one will understand it like you do. It’s the in between stuff that fleshes out a story—gives it guts and transformation. It’s not about the scenery changing or the person you say good night to. The traveler must be the one to change. That’s what makes the story good.

The entire life of the human soul is mere motions in the shadows. We live in a twilight of consciousness, never in accord with whom we are or think we are. Everyone harbours some kind of vanity, and there’s an error whose degree we can’t determine. We’re something that goes on during the show’s intermission; sometimes, through certain doors, we catch a glimpse of what may be no more than scenery. The world is one big confusion, like voices in the night.

A life full of promise. But that’s all life ever is. A promise. Not a guarantee. We like to believe we have our place all set out in the future, but we only have a reservation. Life can be canceled at any moment, with no warning, no refund, no matter how far along you are in the journey. Even if you’ve barely had time to take in the scenery.

The thing he hadn't realized about success was that success made people boring. Failure also made people boring, but in a different way failing people were constantly striving for one thing — success. But successful people were also only striving to maintain their success. It was the different between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas.

And what is Life?—An hour-glass on the run, A mist retreating from the morning sun, A busy, bustling, still repeated dream; Its length?—A minute’s pause, a moment’s thought; And happiness?—A bubble on the stream, That in the act of seizing shrinks to nought.

There are five people you meet in heaven," the Blue Man suddenly said. "Each of us was in your life for a reason. You may not have known the reason at the time, and that is what heaven is for. For understanding your life on Earth." Eddie looked confused. "People think of heaven as a paradise garden, a place where they can float on clouds and laze in rivers and mountains. But scenery without solace is meaningless. "This is the greatest gift God can give you: To understand what happened in your life. To have it explained. It is the peace you have been searching for.

Revelation comes with these misunderstandings. Stuart's life and way of thinking momentarily exposed. Like a break in the hedgerow during the country lane part of a journey. For an instant you glimpse scenery you haven't seen before - fields of poppy and cornflower, trees gnarled in the shape of demons.

Dorian, Dorian," she cried, "before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came—oh, my beautiful love!— and you freed my soul from prison. You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say. You had brought me something higher, something of which all art is but a reflection.

A few moments after he found himself on the stage amid the garish gas and the dim scenery, acting before the innumerable faces of the void. It surprised him to see that the play which he had known at rehearsals for a disjointed lifeless thing had suddenly assumed a life of its own. It seemed now to play itself, he and his fellow actors aiding it with their parts. When the curtain fell on the last scene he heard the void filled with applause and, through a rift in a side scene, saw the simple body before which he had acted magically deformed, the void of faces breaking at all points and falling asunder into busy groups.

People think of heaven as a paradise garden, a place where they can float on clouds and laze in rivers and mountains. But scenery without solace is meaningless. This is the greatest gift God can give you: to understand what happened in your life. To have it explained. It is the peace you have been searching for.

The thing he hadn’t realized about success was that success made people boring. Failure also made people boring, but in a different way: failing people were constantly striving for one thing—success. But successful people were also only striving to maintain their success. It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas. And

My life is joyful and bright because of your love Like the moon who borrows light from the sun But I like those stars, they are moon's friend They never leave moon when they're done. My life is bright because of your love Like the flower borrowing from the sun You're the seer and I am the scenery Bring joy to universe, remains your fun.

Just as a river flows to the sea, growing older and slowing down are just part of the natural scenery, and I've got to accept it. It might not be a very natural process and what I discover as a result might not be all that pleasant. But what choice do I have, anyway? In my own way, I've enjoyed my life so far, even if I can't say I've fully enjoyed it.

Fear, hydra-headed fear, which is rampant in all of us, is a hang-over from lower forms of life. We are straddling two worlds, the one from which we have emerged and the one towards which we are heading. This is the deepest meaning of the word human, that we are a link, a bridge, a promise. It is in us that the life process is being carried to fulfillment. We have a tremendous responsibility, and it is the gravity of that which awakens our fears. We know that if we do not move forward, if we do not realize our potential being, we shall relapse, sputter out, and drag the world down with us. We carry Heaven and Hell within us; we are the cosmogonic builders. We have choice—and all creation is our range. For some it a terrifying prospect. It would be better, think they, if Heaven were above and Hell below—anywhere outside, but not within. But that comfort has been knocked from under us. There are no places to go to, either for reward or punishment. The place is always here and now, in your own person and according to your own fancy. The world is exactly what you picture it to be, always, every instant. It is impossible to shift the scenery about and pretend that you will enjoy another, a different act. The setting is permanent, changing with the mind and heart, not according to the dictates of an invisible stage director. You are the author, director and actor all in one: the drama is always going to be your own life, not some one else’s. A beautiful, terrible, ineluctable drama, like a suit made of your own skin. Would you want it otherwise? Could you invent a better drama?

I have often thought that if I were compelled to forego England, and to live in China, and among Chinese manners and modes of life and scenery, I should go mad.

the most annoying thing a stranger can do is stop being an object, part of the scenery, and force itself into your life, crying for your attention.

Slow down and enjoy life. It’s not only the scenery you miss by going too fast—you also miss the sense of where you are going and why. EDDIE CANTOR

A beautiful aspect of life is the scenery that the earth provides.

A happy person can always enjoy the scenery when life takes them on a detour.

Being isolated at times doesn't always mean that you want to distance yourself from others, it simply means that you need some space to look at things from a different perspective.

As Kate fell into the rhythm of Darby’s stride—horse and rider becoming one—she felt her spirits soar. For a little while, with the scenery blurring by, she was no longer Traitor Kate. No longer the girl despised by a kingdom. No longer the girl cast aside by the friend and prince she had once loved. In moments like these, atop a horse and flying over the ground, she glimpsed her old life. She became Kate Brighton again. Daughter of Hale Brighton, master of horse to the high king. She was free. A girl with a future. Someone who mattered.

It’s impossible to plan things past a certain point, and even before that point your plans aren’t guaranteed. But if you can keep steady, drive down that road and get over those humps that are inevitably going to pop up, chances are there’ll be a nice stretch of paved concrete in between and you can enjoy the scenery...Or there might not be, who knows. The whole goddamn road could look like the surface of the moon and send you flying into a fucking tree. Doesn’t really matter, because the point is you have to keep driving anyways. Just keep driving and eventually you’ll reach a point where the scenery will be so beautiful, it’ll take your mind off how long you’ve been on that road. Which is really all you can ask for.

There are five people you meet in heaven,” the Blue Man suddenly said. “Each of us was in your life for a reason. You may not have known the reason at the time, and that is what heaven is for. For understanding your life on earth.” People think of heaven as a paradise garden, a place where they can float on clouds and laze in rivers and mountains. But scenery without solace is meaningless.” This is the greatest gift God can give you: to understand what happened in your life. To have it explained. It is the peace you have been searching for.

I discovered that, for me, what might become art was not the scenery of Tokyo, but the "I" inside the scenery. Had I become deluded by art? Had I deluded art? Conclusion: Art is "I".

I once got hit by revolving scenery in a production of Marlowe's Doctor Faustus. It whacked my hip, bruised my ego, got an unintentional laugh, but the show went on, and it still does.

We must see that there is a sublimity and majesty in monotony, when there is not a frequent or rapid variation. This is true throughout all nature. The greater part of the sublimity of the sea depends on its monotony. So also that of desolate moor and mountain scenery; and especially the sublimity of motion.So also there is sublimity in darkness when there is no light.

I have said that in one respect my mind has changed during the last twenty or thirty years. Up to the age of thirty, or beyond it, poetry of many kinds, such as the works of Milton, Gray, Byron, Wordsworth, Coleridge, and Shelley, gave me great pleasure, and even as a schoolboy I took intense delight in Shakespeare, especially in the historical plays. I have also said that formerly pictures gave me considerable, and music very great delight. But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music. Music generally sets me thinking too energetically on what I have been at work on, instead of giving me pleasure. I retain some taste for fine scenery, but it does not cause me the exquisite delight which it formerly did. On the other hand, novels which are works of the imagination, though not of a very high order, have been for years a wonderful relief and pleasure to me, and I often bless all novelists. A surprising number have been read aloud to me, and I like all if moderately good, and if they do not end unhappily–against which a law ought to be passed. A novel, according to my taste, does not come into the first class unless it contains some person whom one can thoroughly love, and if a pretty woman all the better. This curious and lamentable loss of the higher aesthetic tastes is all the odder, as books on history, biographies, and travels (independently of any scientific facts which they may contain), and essays on all sorts of subjects interest me as much as ever they did. My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain alone, on which the higher tastes depend, I cannot conceive. A man with a mind more highly organised or better constituted than mine, would not, I suppose, have thus suffered; and if I had to live my life again, I would have made a rule to read some poetry and listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature.

Life is a one way journey, So don't waste your moment. Enjoy the beauty and scenery, fill your heart with love and joyment. Life is a one way journey. Always we are getting ready, not for the game of tourney, But for miracles and joy of heady. Life is a one way journey. We always hope and dream to live, but not on a beautiful gurney, but with vigor and beauty to thrive.

the only prospect which is really desirable or delightful, is that from the window of the breakfast-room [...] where we meet the first light of the dewy day, the first breath of the morning air, the first glance of gentle eyes; to which we descend in the very spring and elasticity of mental renovation and bodily energy, in the gathering up of our spirit for the new day, in the flush of our awakening from the darkness and the mystery of faint and inactive dreaming, in the resurrection from our daily grave, in the first tremulous sensation of the beauty of our being, in the most glorious perception of the lightning of our life; there, indeed, our expatiation of spirit, when it meets the pulse of outward sound and joy, the voice of bird and breeze and billow, does demand some power of liberty, some space for its going forth into the morning, some freedom of intercourse with the lovely and limitless energy of creature and creation.

I believe the perfect freedom of life in a barbarous country would attract me more than any scenery. A man must feel his personal, human dignity as he can never feel it in our crowded towns.

There were days when Amory resented that life had changed from an even progress along a road stretching ever in sight, with the scenery merging and blending, into a succession of quick, unrelated scenes...

If you believe it to be a sea of bitterness, then a sea of bitterness it is. If you believe it to simply be scenery on the path of life, then scenery it is... The sea of bitterness never ends, but the scenery does.

Some people live their life...they worry about the destination. They worry about where they're going. I enjoy the trip. Wherever you're going is where you'll end up. Don't worry about that. Enjoy the scenery on the way.

Nothing happens while you live. The scenery changes, people come in and go out, that's all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition. From time to time you make a semi-total: you say: I've been travelling for three years, I've been in Bouville for three years. Neither is there any end: you never leave a woman, a friend, a city in one go. And then everything looks alike: Shanghai, Moscow, Algiers, everything is the same after two weeks. There are moments—rarely—when you make a landmark, you realize that you're going with a woman, in some messy business. The time of a flash. After that, the procession starts again, you begin to add up hours and days: Monday, Tuesday, Wednesday. April, May, June. 1924, 1925, 1926. That's living. But everything changes when you tell about life; it's a change no one notices: the proof is that people talk about true stories. As if there could possibly be true stories; things happen one way and we tell about them in the opposite sense. You seem to start at the beginning: "It was a fine autumn evening...

You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say.

What grubworms women are to crawl on their bellies through colorless marriages! Marriage was created not to be a background but to need one. Mine is going to be outstanding. It can't, shan't be the setting--it's going to be the performance, the live, lovely, glamourous performance, and the world shall be the scenery. I refuse to dedicate my life to posterity. Surely one owes as much to the current generation as to one's unwanted children. What a fate--to grow rotund and unseemly, to lose my self-love, to think in terms of milk, oatmeal, nurse, diapers…. Dear dream children, how much more beautiful you are, dazzling little creatures who flutter (all dream children must flutter) on golden, golden wings-- --

Climbing up on solsbury hill I could see the city light Wind was blowing, time stood still Eagle flew out of the night He was something to observe Came in close, I heard a voice Standing stretching every nerve I had to listen had no choice I did not believe the information Just had to trust imagination My heart was going boom boom, boom Son, he said, grab your things, Ive come to take you home. To keeping silence I resigned My friends would think I was a nut Turning water into wine Open doors would soon be shut So I went from day to day Tho my life was in a rut till I thought of what Id say Which connection I should cut I was feeling part of the scenery I walked right out of the machinery My heart was going boom boom boom Hey, he said, grab your things, Ive come to take you home. Yeah back home When illusion spin her net Im never where I want to be And liberty she pirouette When I think that I am free Watched by empty silhouettes Who close their eyes, but still can see No one taught them etiquette I will show another me Today I dont need a replacement Ill tell them what the smile on my face meant My heart was going boom boom boom Hey, I said, you can keep my things, theyve come to take me home.

The joy of travel does not lie in reaching the destination, but in the companions met with on the journey, the changing scenery through which the traveller passes, and even the inconveniences that break up the monotony of the ordinary routine life.

A month has passed since I’ve written, but it has seemed to pass much more slowly. Life passes by now like the scenery outside a car window. I breathe and eat and sleep as I always did, but there seems to be no great purpose in my life that requires active participation on my part. I simply drift along like the messages I write you. I do not know where I am going or when I will get there. Even work does not take the pain away. I may be diving for my own pleasure or showing others how to do so, but when I return to the shop, it seems empty without you. I stock and order as I always did, but even now, I sometimes glance over my shoulder without thinking and call for you. As I write this note to you, I wonder when, or if, things like that will ever stop. Without you in my arms, I feel an emptiness in my soul. I find myself searching the crowds for your face—I know it is an impossibility, but I cannot help myself. My search for you is a never-ending quest that is doomed to fail. You and I had talked about what would happen if we were forced apart by circumstance, but I cannot keep the promise I made to you that night. I am sorry, my darling, but there will never be another to replace you. The words I whispered to you were folly, and I should have realized it then. You—and you alone—have always been the only thing I wanted, and now that you are gone, I have no desire to find another. Till death do us part, we whispered, and I’ve come to believe that the words will ring true until the day finally comes when I, too, am taken from this world.

Eyesores dominated the scenery wherever you went, and people still crammed themselves into packed commuter trains each morning, submitting to conditions that would be fatal for any other mammal. Apparently what the Japanese wanted wasn't a better life, but more

…For many years now, that way of living has been scorned, and over the last 40 or 50 years it has nearly disappeared. Even so, there was nothing wrong with it. It was an economy directly founded on the land, on the power of the sun, on thrift and skill and on the people’s competence to take care of themselves. They had become dependent to some extent on manufactured goods, but as long as they stayed on their farms and made use of the great knowledge that they possessed, they could have survived foreseeable calamities that their less resourceful descendants could not survive. Now that we have come to the end of the era of cheap petroleum which fostered so great a forgetfulness, I see that we could have continued that thrifty old life fairly comfortably – could even have improved it. Now, we will have to return to it, or to a life necessarily as careful, and we will do so only uncomfortably and with much distress. Increasingly over the last maybe forty years, the thought has come to me that the old world, in which our people lived by the work of their hands, close to weather and earth, plants and animals, was the true world. And that the new world of cheap energy and ever cheaper money, honored greed and dreams of liberation from every restraint, is mostly theater. This new world seems a jumble of scenery and props never quite believable. An economy of fantasies and moods, in which it is hard to remember either the timely world of nature, or the eternal world of the prophets and poets. And I fear, I believe I know, that the doom of the older world I knew as a boy will finally afflict the new one that replaced it. The world I knew as a boy was flawed surely, but it was substantial and authentic. The households of my grandparents seemed to breathe forth a sense of the real cost and worth of things. Whatever came, came by somebody’s work.

Eyesores dominated the scenery wherever you went, and people still crammed themselves into packed commuter trains each morning, submitting to conditions that would be fatal for any other mammal. Apparently what the Japanese wanted wasn't a better life, but more things.

But successful people were also only striving to maintain their success.It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas.

Life is like a train going in circles, the train is comfortable - it has nice scenery, it provides warmth and food & for most a loving atmosphere. Most of the people stay on the train there entire lives, maybe every now and again they may peep out the door, some might even get off only to quickly realise they want back on. Then you have the rare ones who I aspire to be, those who are bored of the train - to them - the thought of living without it, is risky but the reward of tasting life outside of doors and walls excite them enough to try.

she reflected that it is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an irruption of the audience on to the stage, and all our carefully planned gestures mean nothing, or mean too much.

Nothing happens while you live. The scenery changes, people come in and go out, that’s all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition. (. . .) There are moments—rarely—when you make a landmark, you realize that you’re going with a woman, in some messy business. The time of a flash. After that, the procession starts again, you begin to add up hours and days: Monday, Tuesday, Wednesday. April, May, June. 1924, 1925, 1926 (. . .) That’s living. [Everything] changes when you tell about life; it’s a change no one notices.

When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.

No pleasure is taken anywhere in modern buildings, and we find all men of true feeling delighting to escape out of modern cities into natural scenery. It would be well, if in all other matters, we were as ready to put up with what we dislike., for the sake of compliance with established law, as we are in architecture.

This is why you are told “Let the weak man say, ‘I am strong’.” (Joel 3:10), for by his assumption, the cause-substance — ‘I AM’ — is rearranged and must, therefore, manifest that which its rearrangement affirms. This principle governs every aspect of your life, be it social, financial, intellectual, or spiritual. ‘I AM’ is that reality to which, whatever happens, we must turn for an explanation of the phenomena of life. It is I AM’s concept of itself that determines the form and scenery of its existence. Everything depends upon its attitude towards itself; that which it will not affirm as true of itself cannot awaken in its world.

The awfulness of sudden death and the glory of heaven stunned me! The thing that had been mystery at twilight, lay clear, pure, open in the rosy hue of dawn. Out of the gates of the morning poured a light which glorified the palaces and pyramids, purged and purified the afternoon's inscrutable clefts, swept away the shadows of the mesas, and bathed that broad, deep world of mighty mountains, stately spars of rock, sculptured cathedrals and alabaster terraces in an artist's dream of color. A pearl from heaven had burst, flinging its heart of fire into this chasm. A stream of opal flowed out of the sun, to touch each peak, mesa, dome, parapet, temple and tower, cliff and cleft into the new-born life of another day. I sat there for a long time and knew that every second the scene changed, yet I could not tell how. I knew I sat high over a hole of broken, splintered, barren mountains; I knew I could see a hundred miles of the length of it, and eighteen miles of the width of it, and a mile of the depth of it, and the shafts and rays of rose light on a million glancing, many-hued surfaces at once; but that knowledge was no help to me. I repeated a lot of meaningless superlatives to myself, and I found words inadequate and superfluous. The spectacle was too elusive and too great. It was life and death, heaven and hell.

Failing people were constantly striving for one thing—success. But successful people were also only striving to maintain their success. It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas.

Her parties are always the best. She gets the top shelf liquor and plays only eighties music, which is fine by me. Dancing drunk to the eighties is life. But, more than that, she makes a point of inviting handsome men as an incentive for her girlfriends to attend. I’d be fine with just the expensive booze, but I suppose the scenery is a nice plus.

Whenever I see anything lovely nowadays—a building or a piece of scenery—I think to myself, ‘that’s by Charles.’ I see everything through his eyes. He is England to me.” I heard her say that; it was the sort of thing she had the habit of saying. Throughout our married life, again and again, I had felt my bowels shrivel within me at the things she said.

Just as a river flows to the sea, growing older and slowing down are just part of the natural scenery, and I’ve got to accept it. It might not be a very enjoyable process, and what I discover as a result might not be all that pleasant. But what choice do I have, anyway? In my own way, I’ve enjoyed my life so far, even if I can’t say I’ve fully enjoyed it.

Taking pictures is not only about the background, the colorful scenery or the beautiful era but its all about the person who is hidden in that picture with deep feelings of happiness or sorrows. Don't only rely on physical outlook inspite of it go deep down in every single pixel because a picture can show you a lot about the hidden life story of that particular personality.

Her pretty name of Adina seemed to me to have somehow a mystic fitness to her personality. Behind a cold shyness, there seemed to lurk a tremulous promise to be franker when she knew you better. Adina is a strange child; she is fanciful without being capricious. She was stout and fresh-coloured, she laughed and talked rather loud, and generally, in galleries and temples, caused a good many stiff British necks to turn round. She had a mania for excursions, and at Frascati and Tivoli she inflicted her good-humoured ponderosity on diminutive donkeys with a relish which seemed to prove that a passion for scenery, like all our passions, is capable of making the best of us pitiless. Adina may not have the shoulders of the Venus of Milo...but I hope it will take more than a bauble like this to make her stoop. Adina espied the first violet of the year glimmering at the root of a cypress. She made haste to rise and gather it, and then wandered further, in the hope of giving it a few companions. Scrope sat and watched her as she moved slowly away, trailing her long shadow on the grass and drooping her head from side to side in her charming quest. It was not, I know, that he felt no impulse to join her; but that he was in love, for the moment, with looking at her from where he sat. Her search carried her some distance and at last she passed out of sight behind a bend in the villa wall. I don't pretend to be sure that I was particularly struck, from this time forward, with something strange in our quiet Adina. She had always seemed to me vaguely, innocently strange; it was part of her charm that in the daily noiseless movement of her life a mystic undertone seemed to murmur "You don't half know me! Perhaps we three prosaic mortals were not quite worthy to know her: yet I believe that if a practised man of the world had whispered to me, one day, over his wine, after Miss Waddington had rustled away from the table, that there was a young lady who, sooner or later, would treat her friends to a first class surprise, I should have laid my finger on his sleeve and told him with a smile that he phrased my own thought. .."That beautiful girl," I said, "seems to me agitated and preoccupied." "That beautiful girl is a puzzle. I don't know what's the matter with her; it's all very painful; she's a very strange creature. I never dreamed there was an obstacle to our happiness--to our union. She has never protested and promised; it's not her way, nor her nature; she is always humble, passive, gentle; but always extremely grateful for every sign of tenderness. Till within three or four days ago, she seemed to me more so than ever; her habitual gentleness took the form of a sort of shrinking, almost suffering, deprecation of my attentions, my petits soins, my lovers nonsense. It was as if they oppressed and mortified her--and she would have liked me to bear more lightly. I did not see directly that it was not the excess of my devotion, but my devotion itself--the very fact of my love and her engagement that pained her. When I did it was a blow in the face. I don't know what under heaven I've done! Women are fathomless creatures. And yet Adina is not capricious, in the common sense... .So these are peines d'amour?" he went on, after brooding a moment. "I didn't know how fiercely I was in love!" Scrope stood staring at her as she thrust out the crumpled note: that she meant that Adina--that Adina had left us in the night--was too large a horror for his unprepared sense...."Good-bye to everything! Think me crazy if you will. I could never explain. Only forget me and believe that I am happy, happy, happy! Adina Beati."... Love is said to be par excellence the egotistical passion; if so Adina was far gone. "I can't promise to forget you," I said; "you and my friend here deserve to be remembered!

Q. Which is my favorite country? A. The United States of America. Not because I'm chauvinistic or xenophobic, but because I believe that we alone have it all, even if not to perfection. The U.S. has the widest possible diversity of spectacular scenery and depth of natural resources; relatively clean air and water; a fascinatingly heterogeneous population living in relative harmony; safe streets; few deadly communicable diseases; a functioning democracy; a superlative Constitution; equal opportunity in most spheres of life; an increasing tolerance of different races, religions, and sexual preferences; equal justice under the law; a free and vibrant press; a world-class culture in books,films, theater, museums, dance, and popular music; the cuisines of every nation; an increasing attention to health and good diet; an abiding entrepreneurial spirit; and peace at home.

If anything, despite the place being full of nothing but rocks, there is a certain sense of majesty of nature. Here, it really sinks in how tiny and insignificant my existence is. Back in my old life, I saw a TV show about unexplored regions and stuff. To be honest, that kind of thing never inspired me. In the end, all that beautiful scenery on the TV screen just seemed like some far-off, irrelevant world to me. Far from inspiration, all I felt was apathy. I don't even know why I was watching that show in the first place. But now, I'm actually standing here. This is the world I live in. It's not irrelevant at all. And I certainly can't be apathetic about it. Back when I was a human, I don't think just being somewhere had ever moved me emotionally, no matter where it was. And I never would have experienced this feeling if I just stayed holed up in the nest I called home before, I think.

Like God, you hover above the page staring down on a small town. Outside a window some scenery loafs in a sleepy hammock of pastoral prose and here is a mongrel loping and here is a train approaching the station in three long sentences and here are the people in galoshes waiting. But you know this story about the galoshes is really About Your Life, so, like a diver climbing over the side of a boat and down into the ocean, you climb, sentence by sentence, into this story on this page. You have been expecting yourself as a woman who purrs by in a dress by Patou, and a porter manacled to the luggage, and a man stalking across the page like a black cloud in a bad mood. These are your fellow travelers and you are a face behind or inside these faces, a heartbeat in the volley of these heartbeats, as you choose, out of all the journeys, the journey of a man with a mustache scented faintly with Prince Albert. "He must be a secret sensualist," you think and your awareness drifts to his trench coat, worn, softened, and flabby, a coat with a lobotomy, just as the train pulls into the station. No, you would prefer another stop in a later chapter where the climate is affable and sleek. But the passengers are disembarking, and you did not choose to be in the story of the woman in the white dress which is as cool and evil as a glass of radioactive milk. You did not choose to be in the story of the matron whose bosom is like the prow of a ship and who is launched toward lunch at the Hotel Pierre, or even the story of the dog-on-a-leash, even though this is now your story: the story of the person-who-had-to-take-the-train-and-walk- the-dark-road described hurriedly by someone sitting at the tavern so you could discover it, although you knew all along the road would be there, you, who have been hovering above this page, holding the book in your hands, like God, reading.

Instead of striving for a life that could somehow match the clean beauty of an image from Instagram or the blurry glory of a trailer for an orgiastically great concert that could never happen, imagine striving for a way to encounter the small details of everyday life as if they were unexpectedly delightful. Isn’t that how luxury is supposed to feel, after all? Luxury means being able to relax and savor the moment, knowing that it doesn’t get any better than this. Feeling that way doesn’t require money. It doesn’t require the perfect scenery. All that’s required is an ability to survey a landscape that is disheveled, that is off-kilter, that is slightly unattractive or unsettling, and say to yourself: This is exactly how it should be. This requires a big shift in perspective: Since your thoughts and feelings can’t simply be turned off, you have to train your thoughts and feelings to experience imperfections as acceptable or preferable—even divine.

I can think of so many motives explaining why someone might enter a community like the Peoples Temple or Heaven’s Gate. Maybe it’s because life is hard and they want to make it better. Because someone promised they could help. Maybe they want their time on Earth to feel more meaningful. Maybe they’re sick of feeling so alone. Maybe they want new friends. Or a new family. Or a change of scenery. Maybe someone they love is joining. Maybe everybody is joining. Maybe it just seems like an adventure.

On reflection, looking at shows like this and considering my own experiences, what fascinated me was that we have so many stories like this that help us empathize with monstrous men. “Yes, these men are flawed, but they are not as evil as this man.” Even more chilling, they tend to be stories that paint women as roadblocks, aggressors, antagonists, complications—but only in the context of them being a bitch, a whore, a Madonna. The women are never people. Stories about monstrous men are not meant to teach us how to empathize with the women and children murdered, but with the men fighting over their bodies. As a woman menaced by monsters, I find this particularly interesting, this erasure of me from a narrative meant to, if not justify, then explain the brokenness of men. There are shows much better at this, of course, which don’t paint women out of the story—Mad Men is the first to come to mind, and Game of Thrones—but True Detective doubled down. The women terrorized by monsters in real life are active agents. They are monster-slayers, monster-pacifiers, monster-nurturers, monster-wranglers—and some of them are monsters, too. In truth, if we are telling a tale of those who fight monsters, it fascinates me that we are not telling more women’s stories, as we’ve spun so many narratives like True Detective that so blatantly illustrate the sexist masculinity trap that turns so many human men into the very things they despise. Where are the women who fight them? Who partner with them? Who overcome them? Who battle their own monsters to fight greater ones? Because I have and continue to be one of those women, navigating a horror show world of monsters and madmen. We are women who write books and win awards and fight battles and carve out extraordinary lives from ruin and ash. We are not background scenery, our voices silenced, our motives and methods constrained to sex. I cannot fault the show’s men for forgetting that; they’ve created the world as they see it. But I can prod the show’s exceptional writers, because in erasing the narrative of those whose very existence is constantly threatened by these monsters, including trusted monsters whose natures vacillate wildly, they sided with the monsters. I’m not a bit player in a monster’s story. But with narratives like this perpetuated across our media, it wouldn’t surprise me if that’s how my obituary read: a catalogue of the men who sired me, and fucked me, and courted me. Stories that are not my own. Funny, isn’t it? The power of story. It’s why I picked up a pen. I slay monsters, too.

So far as he could prevent it, Dickens never permitted a day of his life to be ordinary. There was always some prank, some impetuous proposal, some practical joke, some sudden hospitality, some sudden disappearance. It is related of him (I give one anecdote out of a hundred) that in his last visit to America, when he was already reeling as it were under the blow that was to be mortal, he remarked quite casually to his companions that a row of painted cottages looked exactly like the painted shops in a pantomime. No sooner had the suggestion passed his lips than he leapt at the nearest doorway and in exact imitation of the clown in the harlequinade, beat conscientiously with his fist, not on the door (for that would have burst the canvas scenery of course), but on the side of the doorpost. Having done this he lay down ceremoniously across the doorstep for the owner to fall over him if he should come rushing out. He then got up gravely and went on his way. His whole life was full of such unexpected energies, precisely like those of the pantomime clown.

The wonder of life is in presence, it’s not in the scenery that happens to be showing up. That’s why you can be looking at the Grand Canyon and feel miserable, or you can be looking at trash blowing down the street and feel ecstasy. The wonder, the ecstasy, the joy, the beauty is in the quality of the looking. It’s in the presence. If you’re looking at the Grand Canyon and thinking that you’ve wasted your whole life, you’ll probably feel miserable. If you’re looking at trash in the gutter and you’re totally present and open and not caught up in thinking, you’ll feel wonderfully alive.

Even fifteen hundred miles away, even on the phone, Georgie was more alive than anything else in his life. He felt his cheeks warm just thinking about seeing her again. That's what Georgie did to him, she pulled the blood to the surface of his skin. She acted on him, tidally. She made him feel like things were happening, like life was happening, and even if he was miserable sometimes, he wasn't going to sleep through it. He ran his hand over his pocket. The ring was still there. It had been there since he left the nursing home. His great aunt had pressed it into Neal's hands. 'I don't need this anymore, I never really needed it, but Harold liked to see it on my finger. It was a family ring,' she said. 'It should stay in the family.' Neal made up his mind as soon as he saw it. The future was going to happen, even if he wasn’t ready for it. Even if he was never ready for it. At least he could make sure he was with the right person. Wasn’t that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn’t everything else just scenery?

It is in the face of all this visual chaos, so opposed to order and simplicity, that I suddenly, perhaps a little guiltily, recall my vow to simplify my life. When I made that promise I had in mind the image of the ancient Greek subsisting on a fragment of pungent cheese, coarse bread, a handful of sun-warmed olives, a little watered wine; a man who discussed the Good, the True, the Beautiful with grave delight, and piped clear music in a sylvan glade. But I feel the absence of hills clothed in myrtle and thyme; of the Great Mother, Homer's wine-dark sea. Good resolutions, it seems, require good scenery.

Increasingly over the last maybe forty years, the thought has come to me that the old world in which our people lived by the work of their hands, close to weather and earth, plants and animals, was the true world; and that the new world of cheap energy and ever cheaper money, honored greed, and dreams of liberation from every restraint, is mostly theater. This new world seems a jumble of scenery and props never quite believable, an economy of fantasies and moods, in which it is hard to remember either the timely world of nature or the eternal world of the prophets and poets." -Wendell Berry, Andy Catlett Early Travels, p. 93

I am above the forest region, amongst grand rocks & such a torrent as you see in Salvator Rosa's paintings vegetation all a scrub of rhodos. with Pines below me as thick & bad to get through as our Fuegian Fagi on the hill tops, & except the towering peaks of P. S. [perpetual snow] that, here shoot up on all hands there is little difference in the mt scenery—here however the blaze of Rhod. flowers and various colored jungle proclaims a differently constituted region in a naturalist's eye & twenty species here, to one there, always are asking me the vexed question, where do we come from? [Letter to Charles Darwin 24 Jun 1849]

It is not that modern people are less intelligent than their grandparents: only that, being busier, they are less careful. They must learn to take short cuts, skimming through the columns of a newspaper, flicking over the pages of a book or magazine, deciding at each new paragraph or page whether to read it either attentively or cursorily, or whether to let it go unread. There is a running commentary in the mind. For example, in reading a Life of Napoleon: ‘page 9 … yes, he is still talking about Napoleon’s childhood and the romantic scenery of Corsica … something about James Boswell and Corsican independence … tradition of banditry … now back to the family origins again … wait a minute … no … his mother … more about her … yes … French Revolution … page 24, more about the French Revolution … still more … page 31, not interested … ah … Chapter 2, now he’s at the military school … I can begin here … but oughtn’t to waste time over this early part … in the artillery, was he? … but when do we get to the Italian campaign?’ And even when the reader does get to the Italian compaign and settles down comfortably to the story, he seldom reads a sentence through, word by word. Usually, he takes it in either with a single comprehensive glance as he would a stream or a field of cows that he was passing in the train, or with a series of glances, four or five words to a glance. And unless he has some special reason for studying the narrative closely, or is in an unusually industrious mood, he will not trouble about any tactical and geographical niceties of the campaign that are not presented with lively emphasis and perfect clarity. And, more serious still from the author’s point of view, he will not stop when the eye is checked by some obscurity or fancifulness of language, but will leave the point unresolved and pass on. If there are many such obstructions he will skim over them until his eye alights on a clear passage again.

When I was back in my room, I sat on the edge of my bed and stared at the floor. I took my head in my hands and softly began to weep. I tried to determine the cause for my breakdown… (but) I came to realize that my sadness was caused by my own personal angst. I had come to comprehend my own personal story in a more complete sense. I had a painful childhood, however privileged, and was now actively seeking for those things within myself that would break me away from the bonds of childhood and define me as a man. I was set on living my own life as my own man, not defined by the lives of my parents. And whether I succeeded or not, in the end I would die.

Ultimately, though, it was Super Mario Bros. that taught me what remains perhaps the most important lesson of my life. I am being perfectly sincere. I am asking you to consider this seriously. Super Mario Bros., the 1.0 edition, is perhaps the all-time masterpiece of side-scrolling games. When the game begins, Mario is standing all the way to the left of the legendary opening screen, and he can only go in one direction: He can only move to the right, as new scenery and enemies scroll in from that side. He progresses through eight worlds of four levels each, all of them governed by time constraints, until he reaches the evil Bowser and frees the captive Princess Toadstool. Throughout all thirty-two levels, Mario exists in front of what in gaming parlance is called “an invisible wall,” which doesn’t allow him to go backward. There is no turning back, only going forward—for Mario and Luigi, for me, and for you. Life only scrolls in one direction, which is the direction of time, and no matter how far we might manage to go, that invisible wall will always be just behind us, cutting us off from the past, compelling us on into the unknown. A small kid growing up in small-town North Carolina in the 1980s has to get a sense of mortality from somewhere, so why not from two Italian-immigrant plumber brothers with an appetite for sewer mushrooms?

Back then, Japan as a nation aspired to something in which each individual seemed invested. And that "something"wasn't just about economic growth, or transforming the yen into an international currency. It had more to do with accessing information. Information was indispensable, and not only as a means of obtaining necessities like food and clothing and medicine. Within two or three years of World War II's end, starvation had been basically eliminated in Japan, and yet the Japanese had continued slaving away as if their lives depended on it. Why? To create a more abundant life? If so, where was the abundance? Where were the luxurious living spaces? Eyesores dominated the scenery wherever you went, and people still crammed themselves into packed commuter trains each morning, submitting to conditions that would be fatal for any other mammal. Apparently what the Japanese wanted wasn't a better life, but more things. And things, of course, were a form of information. But as things became readily available and information began to flow smoothly, the original aspiration got lost in the shuffle. People were infected with the concept that happiness was something outside themselves, and a new and powerful form of loneliness was born. Mix loneliness with stress and enervation, and all sorts of madness can occur. Anxiety increases, and in order to obliterate the anxiety people turn to extreme sex, violence, and even murder.

that he had begun to long for clearings, fields, or even a mountain, instead of the endless tree trunks and meager underbrush. His flights with Saphira provided no respite as they only revealed hills of prickly green that rolled unbroken into the distance like a verdant sea. Oftentimes, the branches were so thick overhead, it was impossible to tell from what direction the sun rose and set. That, combined with the repetitive scenery, made Eragon hopelessly lost, no matter how many times Arya or Lifaen troubled to show him the points of the compass. If not for the elves, he knew that he could wander in Du Weldenvarden for the rest of his life without ever finding his way free. When it rained, the clouds and the forest canopy plunged them into profound darkness, as if they were entombed deep underground. The falling water would

The thing he hadn’t realized about success was that success made people boring. Failure also made people boring, but in a different way: failing people were constantly striving for one thing—success. But successful people were also only striving to maintain their success. It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vistas. (...) Jude and Willem had something he didn’t, something that was protecting them from the suffocating ennui of being successful, from the tedium of waking up and realizing that you were a success and that every day you had to keep doing whatever it was that made you a success, because once you stopped, you were no longer a success, you were becoming a failure.

The thing he hadn't realized about success was that success made people boring. Failure also made people boring, but in a different way: failing people were constantly striving for one thing - success. But successful people were also only striving to maintain their success. It was the difference between running and running in place, and although running was boring no matter what, at least the person running was moving, through different scenery and past different vista. And yet here again, it seemed that Jude and Willem had something he didn't, something that was protecting them from the suffocating ennui of being successful, from the tedium of waking up and realizing that you were a success and that every day you had to keep doing what made you a success, because once you stopped, you were no longer a success, you were becoming a failure.

It is not easy being seventy-nine and lose your whole life- my life was that girl. I guess that my assignment in life is over my next stop is up on the hill, next to her I presume.' ‘Life goes by like a blink of an eye. I did the best I could, but I frequently wonder if my best was good enough. Maybe, I was too hard on her.' 'Maybe she was unhappy; maybe it was me? The only hobby I have, as I get older is looking at the scenery that surrounds me.' 'Looking over the pond that cascades a reflection of the trees on along the walkway. Plus, stumbling back and forth from the kitchen, I mumble in whispers, remembering her voice in my mind, while trying to write my fragmented thoughts down on paper, as they rush in my head faster than I can scribble with my pencil.' ‘Oddly Nevaeh is the writer I am not, yet I have given her all my notes about my memories.

Now while I sat in the day and look'd forth, In the close of the day with its light and the fields of spring, and the farmers preparing their crops, In the large unconscious scenery of my land with its lakes and forests, In the heavenly aerial beauty, (after the perturb'd winds and the storms,) Under the arching heavens of the afternoon swift passing, and the voices of children and women, The many-moving sea-tides, and I saw the ships how they sail'd, And the summer approaching with richness, and the fields all busy with labor, And the infinite separate houses, how they all went on, each with its meals and minutia of daily usages, And the streets how their throbbings throbb'd, and the cities pent—lo, then and there, Falling upon them all and among them all, enveloping me with the rest, Appear'd the cloud, appear'd the long black trail, And I knew death, its thought, and the sacred knowledge of death.

But the mingled reality and mystery of the whole show, the influence upon me of the poetry, the lights, the music, the company, the smooth stupendous changes of glittering and brilliant scenery, were so dazzling, and opened up such illimitable regions of delight, that when I came out into the rainy street, at twelve o’clock at night, I felt as if I had come from the clouds, where I had been leading a romantic life for ages, to a bawling, splashing, link-lighted, umbrella-struggling, hackney-coach-jostling, patten-clinking, muddy, miserable world. I had emerged by another door, and stood in the street for a little while, as if I really were a stranger upon earth: but the unceremonious pushing and hustling that I received, soon recalled me to myself, and put me in the road back to the hotel; whither I went, revolving the glorious vision all the way; and where, after some porter and oysters, I sat revolving it still, at past one o’clock, with my eyes on the coffee-room fire.

Dorian, Dorian," she cried, "before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came—oh, my beautiful love!—and you freed my soul from prison. You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say. You had brought me something higher, something of which all art is but a reflection. You had made me understand what love really is. My love! My love!

So acquire the habit of being present at this activity of the material and moral universe. Learn to look; compare what is before you with your familiar or secret ideas. Do not see in a town merely houses, but human life and history. Let a gallery or a museum show you something more than a collection of objects, let it show you schools of art and of life, conceptions of destiny and of nature, successive or varied tendencies of technique, of inspiration, of feeling. Let a workshop speak to you not only of iron and wood, but of man's estate, of work, of ancient and modern social economy, of class relationships. Let travel tell you of mankind; let scenery remind you of the great laws of the world; let the stars speak to you of measureless duration; let the pebbles on your path be to you the residue of the formation of the earth; let the sight of a family make you think of past generations; and let the least contact with your fellows throw light on the highest conception of man. If you cannot look thus, you will become, or be, a man of only commonplace mind. A thinker is like a filter, in which truths as they pass through leave their best substance behind.

Dorian, Dorian," she cried, "before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came--oh, my beautiful love!--and you freed my soul from prison. You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say. You had brought me something higher, something of which all art is but a reflection. You had made me understand what love really is. My love! My love! Prince Charming! Prince of life! I have grown sick of shadows. You are more to me than all art can ever be.

Nor is it only as a sign of greater gentleness or refinement of mind, but as a proof of the best possible direction of this refinement, that the tendency of the Gothic to the expression of vegetative life is to be admired. That sentence of Genesis, 'I have given thee every green herb for meat,' like all the rest of the book, has a profound symbolical as well as literal meaning. It is not merely the nourishment of the body, but the food of the soul, that is intended. The green herb is, of all nature, that which is most essential to the healthy spiritual life of man. Most of us do not need fine scenery; the precipice and the mountain peak are not intended to be seen by all men, — perhaps their power is greatest. over those who are unaccustomed to them. But trees and fields and flowers were made for all, and are necessary for all. God has connected the labour which is essential to the bodily sustenance with the pleasures which are healthiest for the heart; and while He made the ground stubborn, He made its herbage fragrant, and its blossoms fair. The proudest architecture that man can build has no higher honour than to bear the image and recall the memory of that grass of the field which is, at once, the type and the support of his existence; the goodly building is then most glorious when it is sculptured into the likeness of the leaves of Paradise; and the great Gothic spirit, as we showed it to be noble in its disquietude, is also noble in its hold of nature; it is, indeed, like the dove of Noah, in that she found no rest upon the face of the waters, — but like her in this also, 'Lo, in her mouth was an olive branch, plucked off.

Each year before the first rain after the harvest in Spring, I would look at the dry peach tree that I know so well at our backyard and anticipating that in summer it will be covered in an overgrown hedge unless my father who was a committed gardner of note take a weekend off from Jo'burg during the pruning season to prune it. Even now, I still remember with crystal clarity my childhood mood - warm days in Schoonoord with rich nostalgia of green scenery and flowers flowering everywhere.  One evening I was sitting at the veranda of our firehut looking at the orange tree between the plat (flat - roofed) house and the big L - shaped house - the tree served as a shelter from the sun for the drinking water pot next to the plat house - suddenly the weather changed, the wind howled, the tree swayed, the loose corrugated iron sheets on roof of he house clattered and clanged, the open windows shuts with a bang and the sky made night a day, and I was overwhelmed with that feeling of childhood joy at the approaching rain. All of a sudden, the deafening of steady pouring rain. The raging storm beat the orange tree leaves while I sat there remembering that where the orange tree stood used to be our first house, a small triangular   shaped mokhukhu ((tin house) made of red painted corrugated iron sheets salvaged from demolishing site in Witbank, also remembering that my aunt's mokhukhu was also made of the same type and colour of corrugated iron sheets. The ashen ground drunk merily until it was quenched and the floods started rolling down Leolo Mountains, and what one could hear above the deafening steady pouring rain was the bellowing of the nearby Manyane Dale, and if it was daylight one could have seen the noble Sebilwane River rolling in sullen glide. After about fifteen minutes of steady downpour, and rumbling sounds, the storm went away in a series of small, badly lit battle scenes.

True understanding is to see the events of life in this way: “You are here for my benefit, though rumor paints you otherwise.” And everything is turned to one’s advantage when he greets a situation like this: You are the very thing I was looking for. Truly whatever arises in life is the right material to bring about your growth and the growth of those around you. This, in a word, is art—and this art called “life” is a practice suitable to both men and gods. Everything contains some special purpose and a hidden blessing; what then could be strange or arduous when all of life is here to greet you like an old and faithful friend? I had a dream many years ago that sums up this thought in a different way, one that has become a sustaining metaphor for me. I am on a train going home to God. (Bear with me!) It’s a long journey, and everything that happens in my life is scenery along the way. Some of it is beautiful; I want to linger over it awhile, perhaps hold on to it or even try to take it with me. Other parts of the journey are spent grinding through a barren, ugly countryside. Either way the train moves on. And pain comes whenever I cling to the scenery, beautiful or ugly, rather than accept that all the scenery is grist for the mill, containing, as Marcus Aurelius counseled us, some hidden purpose and a hidden blessing. My family, of course, is on board with me. Beyond our families, we choose who is on the train with us, who we share our journey with. The people we invite on the train are those with whom we are prepared to be vulnerable and real, with whom there is no room for masks and games. They strengthen us when we falter and remind us of the journey’s purpose when we become distracted by the scenery. And we do the same for them. Never let life’s Iagos—flatterers, dissemblers—onto your train. We always get warnings from our heart and our intuition when they appear, but we are often too busy to notice. When you realize they’ve made it on board, make sure you usher them off the train; and as soon as you can, forgive them and forget them. There is nothing more draining than holding grudges.

Nothing happens while you live. The scenery changes, people come in and go out, that’s all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition. From time to time you make a semi-total: you say: I’ve been travelling for three years, I’ve been in Bouville for three years. Neither is there any end: you never leave a woman, a friend, a city in one go. And then everything looks alike: Shanghai, Moscow, Algiers, everything is the same after two weeks. There are moments—rarely—when you make a landmark, you realize that you’re going with a woman, in some messy business. The time of a flash. After that, the procession starts again, you begin to add up hours and days: Monday, Tuesday, Wednesday. April, May, June. 1924, 1925, 1926. That’s living. But everything changes when you tell about life; it’s a change no one notices: the proof is that people talk about true stories. As if there could possibly be true stories; things happen one way and we tell about them in the opposite sense. [...] “I was out walking, I had left the town without realizing it, I was thinking about my money troubles.” This sentence, taken simply for what it is, means that the man was absorbed, morose, a hundred leagues from an adventure, exactly in the mood to let things happen without noticing them. But the end is there, transforming everything. For us, the man is already the hero of the story. His moroseness, his money troubles are much more precious than ours, they are all gilded by the light of future passions. And the story goes on in the reverse: instants have stopped piling themselves in a lighthearted way one on top of the other, they are snapped up by the end of the story which draws them and each one of them in turn, draws out the preceding instant: “It was night, the street was deserted.” The phrase is cast out negligently, it seems superfluous; but we do not let ourselves be caught and we put it aside: this is a piece of information whose value we shall subsequently appreciate. And we feel that the hero has lived all the details of this night like annunciations, promises, or even that he lived only those that were promises, blind and deaf to all that did not herald adventure. We forget that the future was not yet there; the man was walking in a night without forethought, a night which offered him a choice of dull rich prizes, and he did not make his choice. I wanted the moments of my life to follow and order themselves like those of a life remembered. You might as well try and catch time by the tail.

An unexpected sight opens in front of my eyes, a sight I cannot ignore. Instead of the calm waters in front of the fortress, the rear side offers a view of a different sea—the sea of small, dark streets and alleys—like an intricate puzzle. The breathtaking scenery visible from the other side had been replaced by the panorama of poverty–stricken streets, crumbling house walls, and dilapidated facades that struggle to hide the building materials beneath them. It reminds me of the ghettos in Barcelona, the ghettos I came to know far too well. I take a deep breath and look for a sign of life—a life not affected by its surroundings. Nothing. Down, between the rows of dirty dwellings stretches a clothesline. Heavy with the freshly washed laundry it droops down, droplets of water trickling onto the soiled pavement from its burden. Around the corner, a group of filthy children plays with a semi–deflated soccer ball—it makes a funny sound as it bounces off the wall—plunk, plunk. A man sitting on a staircase puts out a cigarette; he coughs, spits phlegm on the sidewalk, and lights a new one. A mucky dog wanders to a house, lifts his leg, and pisses on it. His urine flows down the wall and onto the street, forming a puddle on the pavement. The children run about, stepping in the piss, unconcerned. An old woman watches from the window, her large breasts hanging over the windowsill for the world to see. Une vie ordinaire, a mundane life...life in its purest. These streets bring me back to all the places I had escaped when I sneaked onto the ferry. The same feeling of conformity within despair, conformity with their destiny, prearranged long before these people were born. Nothing ever changes, nothing ever disturbs the gloomy corners of the underworld. Tucked away from the bright lights, tucked away from the shiny pavers on the promenade, hidden from the eyes of the tourists, the misery thrives. I cannot help but think of myself—only a few weeks ago my life was not much different from the view in front of my eyes. Yet, there is a certain peace soaring from these streets, a peace embedded in each cobblestone, in each rotten wall. The peace of men, unconcerned with the rest of the world, disturbed neither by global issues, nor by the stock market prices. A peace so ancient that it can only be found in the few corners of the world that remain unchanged for centuries. This is one of the places. I miss the intricacy of the street, I miss the feeling of excitement and danger melted together into one exceptional, nonconforming emotion. There is the real—the street; and then there is all the other—the removed. I am now on the other side of reality, unable to reach out with my hand and touch the pure life. I miss the street.

And the wraith on the heart monitor looks pensively down at Gately from upside-down and asks does Gately remember the myriad thespian extras on for example his beloved ‘Cheers!,’ not the center-stage Sam and Carla and Nom, but the nameless patrons always at tables, filling out the bar’s crowd, concessions to realism, always relegated to back- and foreground; and always having utterly silent conversations: their faces would animate and mouths would move realistically, but without sound; only the name-stars at the bar itself could audibilize. The wraith says these fractional actors, human scenery, could be seen (but not heard) in most pieces of filmed entertainment. And Gately remembers them, the extras in all public scenes, especially like bar and restaurant scenes, or rather remembers how he doesn’t quite remember them, how it never struck his addled mind as in fact surreal that their mouths moved but nothing emerged, and what a miserable fucking bottom-rung job that must be for an actor, to be sort of human furniture, figurants the wraith says they’re called, these surreally mute background presences whose presence really revealed that the camera, like any eye, has a perceptual corner, a triage of who’s important enough to be seen and heard v. just seen. A term from ballet, originally, figurant, the wraith explains. The wraith pushes his glasses up in the vaguely sniveling way of a kid that’s just got slapped around on the playground and says he personally spent the vast bulk of his own former animate life as pretty much a figurant, furniture at the periphery of the very eyes closest to him, it turned out, and that it’s one heck of a crummy way to try to live. Gately, whose increasing self-pity leaves little room or patience for anybody else’s self-pity, tries to lift his left hand and wiggle his pinkie to indicate the world’s smallest viola playing the theme from The Sorrow and the Pity, but even moving his left arm makes him almost faint. And either the wraith is saying or Gately is realizing that you can’t appreciate the dramatic pathos of a figurant until you realize how completely trapped and encaged he is in his mute peripheral status, because like say for example if one of ‘Cheers!’’s bar’s figurants suddenly decided he couldn’t take it any more and stood up and started shouting and gesturing around wildly in a bid for attention and nonperipheral status on the show, Gately realizes, all that would happen is that one of the audibilizing ‘name’ stars of the show would bolt over from stage-center and apply restraints or the Heineken Maneuver or CPR, figuring the silent gesturing figurant was choking on a beer-nut or something, and that then the whole rest of that episode of ‘Cheers!’ would be about jokes about the name star’s life-saving heroics, or else his fuck-up in applying the Heineken Maneuver to somebody who wasn’t choking on a nut. No way for a figurant to win. No possible voice or focus for the encaged figurant.

Memory is a funny thing. When I was in the scene, I hardly paid it any mind. I never stopped to think of it as something that would make a lasting impression, certainly never imagined that eighteen years later I would recall it in such detail. I didn’t give a damn about the scenery that day. I was thinking about myself. I was thinking about the beautiful girl walking next to me. I was thinking about the two of us together, and then about myself again. It was the age, that time of life when every sight, every feeling, every thought came back, like a boomerang, to me. And worse, I was in love. Love with complications. Scenery was the last thing on my mind. Now, though, that meadow scene is the first thing that comes back to me. The smell of the grass, the faint chill of the wind, the line of the hills, the barking of a dog: these are the first things, and they come with absolute clarity. I feel as if I can reach out and trace them with a fingertip. And yet, as clear as the scene may be, no one is in it. No one. Naoko is not there, and neither am I. Where could we have disappeared to? How could such a thing have happened? Every “thing that seemed so important back then—Naoko, and the self I was then, and the world I had then: where could they have all gone? It’s true, I can’t even bring back Naoko’s face—not right away, at least. All I’m left holding is a background, sheer scenery, with no people up front. True, given time enough, I can bring back her face. I start joining images—her tiny, cold hand; her straight, black hair so smooth and cool to the touch; a soft, rounded earlobe and the microscopic mole just beneath it; the camel’s hair coat she wore in the winter; her habit of looking straight into your eyes when asking a question; the slight trembling that would come to her voice now and then (as if she were speaking on a windy hilltop) and suddenly her face is there, always in profile at first, because Naoko and I were always out walking together, side by side. Then she turns to me, and smiles, and tilts her head just a bit, and begins to speak, and she looks into my eyes as if trying to catch the image of a minnow that has darted across the pool of a limpid spring. I do need that time, though, for Naoko’s face to appear. And as the years have passed, the time has grown longer. The sad truth is that what I could recall in five seconds all too soon needed ten, then thirty, then a full minute—like shadows lengthening at dusk. Someday, I suppose, the shadows will be swallowed up in darkness. There is no way around it: my memory is growing ever more distant from the spot where Naoko used to stand—ever more distant from the spot where my old self used to stand. And nothing but scenery, that view of the meadow in October, returns again and again to me like a symbolic scene in a movie. Each time it appears, it delivers a kick to some part of my mind. “Wake up,” it says. “I’m still here. Wake up and think about it. Think about why I’m still here.” The kicking never hurts me. There’s no pain at all. Just a hollow sound that echoes with each kick. And even that is bound to fade one day. At the Hamburg airport, though, the kicks were longer and harder than usual. Which is why I am writing this book. To think. To understand. It just happens to be the way I’m made. I have to write things down to feel I fully comprehend them.

My darling son: depression at your age is more common than you might think. I remember it very strongly in Minneapolis, Minnesota, when I was about twenty-six and felt like killing myself. I think the winter, the cold, the lack of sunshine, for us tropical creatures, is a trigger. And to tell you the truth, the idea that you might soon unpack your bags here, having chucked in all your European plans, makes your mother and me as happy as could be. You have more than earned the equivalent of any university 'degree' and you have used your time so well to educate yourself culturally and personally that if university bores you, it is only natural. Whatever you do from here on in, whether you write or don't write, whether you get a degree or not, whether you work for your mother, or at El Mundo, or at La Ines, or teaching at a high school, or giving lectures like Estanislao Zuleta, or as a psychoanalyst to your parents, sisters and relatives, or simply being Hector Abad Faciolince, will be fine. What matters is that you don't stop being what you have been up till now, a person, who simply by virtue of being the way you are, not for what you write or don't write, or for being brilliant or prominent, but just for being the way you are, has earned the affection, the respect, the acceptance, the trust, the love, of the vast majority of those who know you. So we want to keep seeing you in this way, not as a future great author, or journalist or communicator or professor or poet, but as the son, brother, relative, friend, humanist, who understands others and does not aspire to be understood. It does not matter what people think of you, and gaudy decoration doesn't matter, for those of us who know you are. For goodness' sake, dear Quinquin, how can you think 'we support you (...) because 'that boy could go far'? You have already gone very far, further than all our dreams, better than everything we imagined for any of our children. You should know very well that your mother's and my ambitions are not for glory, or for money, or even for happiness, that word that sounds so pretty but is attained so infrequently and for such short intervals (and maybe for that very reason is so valued), for all our children, but that they might at least achieve well-being, that more solid, more durable, more possible, more attainable word. We have often talked of the anguish of Carlos Castro Saavedra, Manuel Meija Vallejo, Rodrigo Arenas Betancourt, and so many quasi-geniuses we know. Or Sabato or Rulfo, or even Garcia Marquez. That does not matter. Remember Goethe: 'All theory (I would add, and all art), dear friend, is grey, but only the golden tree of life springs ever green.' What we want for you is to 'live'. And living means many better things than being famous, gaining qualifications or winning prizes. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. Only now, when all that has passed, have I felt really happy. And part of that happiness is Cecilia, you, and all my children and grandchildren. Only the memory of Marta Cecilia tarnishes it. I believe things are that simple, after having gone round and round in circles, complicating them so much. We should do away with this love for things as ethereal as fame, glory, success... Well, my Quinquin, now you know what I think of you and your future. There's no need for you to worry. You are doing just fine and you'll do better, and when you get to my age or your grandfather's age and you can enjoy the scenery around La Ines that I intend to leave to all of you, with the sunshine, heat and lush greenery, and you'll see I was right. Don't stay there longer than you feel you can. If you want to come back I'll welcome you with open arms. And if you regret it and want to go back again, we can buy you another return flight. A kiss from your father.

In Response to a Question: ”What Does the Earth Say?” The earth says have a place, be what that place requires; hear the sound the birds imply and see as deep as ridges go behind each other. (Some people call their scenery flat, their only pictures framed by what they know: I think around them rise a riches and a loss too equal for their chart - but absolutely tall.) The earth says every summer have a ranch that’s minimum: one tree, one well, a landscape that proclaims a universe - sermon of the hills, hallelujah mountain, highway guided by the way the world is tilted, reduplication of mirage, flat evening: a kind of ritual for the wavering. The earth says where you live wear the kind of color that your life is (grey shirt for me) and by listening with the same bowed head that sings draw all things into one song, join the sparrow on the lawn, and row that easy way, the rage without met by the wings within that guide you anywhere the wind blows. Listening, I think that’s what the earth says.

The rise of the theater of the absurd, it has been argued, "seems to mirror the change in the predominant form of mental disorders which has been observed and described since World War II by an ever-increasing number of psychiatrists. " Whereas the "classical" drama of Sophocles, Shakespeare, and Ibsen turned on conflicts associated with classical neuroses, the absurdist theater of Albee, Beckett, loncsco, and Genet centers on the emptiness, isolation, loneliness, and despair experienced by the borderline personality. The affinity between the theater of the absurd and the borderline's "fear of close relationships, " "attendant feelings of helplessness, loss, and rage," "fear of destructive impulses, " and "fixation to early omnipotence" inheres not only in the content of these plays but-more to the point of the present discussion-in their form. The contemporary playwright abandons the effort to portray coherent and generally recognized truths and presents the poet's personal intuition of truth. The characteristic devaluation of language, vagueness as to time and place, sparse scenery, and lack of plot development evoke the barren world of the borderline, his lack of faith in the growth or development of object relations, his "often stated remark that words do not matter, only action is important," and above all his belief that the world consists of illusions. "Instead of the neurotic character with well-structured conflicts centering around forbidden sex, authority, or dependence and independence within a family setting, we see characters filled with uncertainty about what is real." This uncertainty now invades every form of art and crystallizes in an imagery of the absurd that reenters daily life and encourages a theatrical approach to existence, a kind of absurdist theater of the self.

There is really nothing else to do but turn to the window. We are on the highway now and it is unbelievable how much construction is going on even as we speed further and further away from Gangnam. Each building is topped with a gargantuan orange crane reeling large beams and planks through the air. The scale of these new apartment complexes takes my breath away – I cannot imagine them all filling with people and furniture and light. Hundreds, no, thousands of apartments, so far away from the heart of the capital, and yet I will never be able to afford a single one, no matter how much I save all my life. In a way, I will be glad when we are almost home and the scenery will turn into rice fields and farm plots, and I will be reminded of how far I have come, instead of what I cannot reach.

Give us men or women who desire nothing else but the truth, and we will take care of their needs. How much money will it require to lodge a person who cares nothing for comfort? What will it take to furnish the kitchen for those who have no desire for dainties? What libraries will be required for those who can read the book of Nature? What external pictures will please those who wish to avoid a life of the senses and retire within themselves? What terrestrial scenery shall be selected for those who live within the paradise of their souls? What company will please those who converse with their own higher self? How can we amuse those who live in the presence of God?

Jealousy was a too-sensitive teenager’s reaction. If it had been any other week, it would have passed through him like a cool breeze. Instead, it was lodged in his chest like a little chip of ice. He just—wanted to play. Dex, all his life, had wanted to feel that he was part of a team, a member of the cast—an integral member of an ensemble that appreciated his comedic timing, his showboating, his talents, before they withered to dust. Though he supposed the vast majority of humans felt like unpaid extras. Milling about, uselessly waiting to be discovered, recognized for their innate yet invisible value, but doomed never to be anything but human scenery. Maybe that was his team, and he was already on it. Had been on it, in fact, forever.

I don’t know if it was the change of scenery, or if it was because the light was different, or that we were sitting at a table rather than in our regular two chairs—or if it was that simple act of kindness of him giving me an orange he had picked from his tree that elicited such a primal reaction inside me.

A fast but skillful driver, Peter guided his Jaguar onto the M6 Highway, then accelerated to a dizzying speed. Thank goodness she'd seen something of the scenery on her way to Scotland, Toni reflected, as the landscape passed in a blur of greens and blues and tans. She managed to stay alert until they passed York, at which point her eyelids refused to stay open. She felt her body sinking lower and lower into the leather upholstery until finally she could fight the drowsiness no longer.

A sensitive and honest-minded man, if he’s concerned about evil and injustice in the world, will naturally begin his campaign against them by eliminating them at their nearest source: his own person. This task will take his entire life. Everything, for us, is in our concept of the world. To modify our concept of the world is to modify the world for us, or simply to modify the world, since it will never be, for us, anything but what it is for us. That inner justice we summon to write a fluent and beautiful page, that true reformation of enlivening our dead sensibility – these things are the truth, our truth, the only truth. Everything else in the world is scenery, picture frames for our feelings, book bindings for our thoughts.

VLADIMIR — Where else do you think? Do you not recognize the place? ESTRAGON — Recognize! What is there to recognize? All my lousy life I've crawled about in the mud! And you talk me about scenery! [Looking widly about him.] Look at this muckheap! I've never stirred from it!

It almost gave me a shock to realize that I was looking upon the once so familiar European scenery with the eyes of a stranger. The people seemed so ugly, their movements angular and clumsy, with no direct relationship to what they really felt and wanted: and all at once I knew that in spite of the outward appearance of purpose in all they did, they were living, without being aware of it, in a world of make-believe ... Obviously, my contact with the Arabs had utterly, irretrievably changed my approach to what I considered essential in life; and it was with something like astonishment that I remembered that other Europeans had experienced Arabian life before me; how was it possible, then, that they had not experienced this same shock of discovery? Or - had they? Had perhaps one or another of them been as shaken to his depths as I was now...? (It was years later, in Arabia, that I received an answer to this question: it came from Dr.

It was one of those dreams which, while retaining the characteristic dream scenery, are a continuation of one's intellectual life, and in which one becomes aware of facts and ideas which still seem new and valuable after one is awake.

And his life was a river. You went along with the flow and sometimes the scenery was pleasant. Sometimes it wasn’t. You had to make the most of where the river took you.

I feel my throat tighten, just a little. I've grown good at gardening myself. But for a moment it gets to me. A life full of promise. But that's all life ever is. A promise. Not a guarantee. We like to believe we have our place all set out in the future, but we only have a reservation. Life can be cancelled at any moment, with no warning, no refund, no matter how far along you are in the journey. Even if you've barely had time to take in the scenery.

THE SCENERY BLURRED—BUT WHETHER IT was from tears or panic Sophie couldn’t be sure. Everything she knew was wrong. Her entire life was a lie. Fitz nudged her arm. “Hey. It’s not your fault. You believed what they taught you—I’m sure I’d have done the same thing. But it’s time you knew the truth. This is how the world really works. It’s not magic. It’s just how it is.

Intimacy with the Lord without distraction would also mean greater availability for the service of the Lord, his people, and his kingdom, as the Christian experience of millennia has shown. Reflection and Application (7:25–35) This passage, along with Jesus’ commendation of celibacy (Matt 19:12), forms the Magna Carta of the consecrated life. It is primarily a declaration of independence and freedom. The great good of charity, the love of God, which alone outlasts the changing scenery of this world, is worth committing oneself to in celibate consecration as a state of life. If Paul coincides with Plato in saying that the figure of this world is passing away, he does not make the philosophical principle of the changeableness of temporal things the main motive for his praise of virginity. Rather, we are living in a segment of time marked at either end by the Christ event. In the resurrection, which is behind us, the glorious consummation of salvation is forecast and guaranteed. Thus we are living in a new kind of time, because its goal as well as its beginning has been revealed. So radically has the meaning of time been changed that unnecessary involvement in essentially transitory states can be a curtailment of freedom. Virginity, then, is the visible symbol of Christ’s lordship over time.

The birds have soared up and gone, isolate white clouds wander relaxed through the sky. We never exhausted of staring at each other only the climbing can bring windy beauty breeze that takes your breath away. Mountains' different shapes have their unique stories. We belong to the hills, and it's our playground. The silence trees sway the kingdom creation that brings to your eyes as your feet and hands grip to hold for dear life as you climb. The way you move your body, the ache is worth the scenery, and the power you hold to jump to the top of the world to seek successfully made it your story happen with your heart. You have the control and the mountain top. You own your mind to survive to go on as you told the world it's a sight to behold- Martha Perez

For, apart from the fact that I am a decadent, I am also the reverse of such a creature. Among other things my proof of this is, that I always instinctively select the proper remedy when my spiritual or bodily health is low; whereas the decadent, as such, invariably chooses those remedies which are bad for him. As a whole I was sound, but in certain details I was a decadent. That energy with which I sentenced myself to absolute solitude, and to a severance from all those conditions in life to which I had grown accustomed; my discipline of myself, and my refusal to allow myself to be pampered, to be tended hand and foot, and to be doctored—all this betrays the absolute certainty of my instincts respecting what at that time was most needful to me. I placed myself in my own hands, I restored myself to health: the first condition of success in such an undertaking, as every physiologist will admit, is that at bottom a man should be sound. An intrinsically morbid nature cannot become healthy. On the other hand, to an intrinsically sound nature, illness may even constitute a powerful stimulus to life, to a surplus of life. It is in this light that I now regard the long period of illness that I endured: it seemed as if I had discovered life afresh, my own self included. I tasted all good things and even trifles in a way in which it was not easy for others to taste them—out of my Will to Health and to Life I made my philosophy.... For this should be thoroughly understood; it was during those years in which my vitality reached its lowest point that I ceased from being a pessimist: the instinct of self-recovery forbade my holding to a philosophy of poverty and desperation. Now, by what signs are Nature's lucky strokes recognised among men? They are recognised by the fact that any such lucky stroke gladdens our senses; that he is carved from one integral block, which is hard, sweet, and fragrant as well. He enjoys that only which is good for him; his pleasure, his desire, ceases when the limits of that which is good for him are overstepped. He divines remedies for injuries; he knows how to turn serious accidents to his own advantage; that which does not kill him makes him stronger. He instinctively gathers his material from all he sees, hears, and experiences. He is a selective principle; he rejects much. He is always in his own company, whether his intercourse be with books, with men, or with natural scenery; he honours the things he chooses, the things he acknowledges, the things he trusts. He reacts slowly to all kinds of stimuli, with that tardiness which long caution and deliberate pride have bred in him—he tests the approaching stimulus; he would not dream of meeting it half-way. He believes neither in "ill-luck" nor "guilt"; he can digest himself and others; he knows how to forget—he is strong enough to make everything turn to his own advantage. Lo then! I am the very reverse of a decadent, for he whom I have just described is none other than myself.

Hmm. Real life is different from math. Things in life don’t necessarily flow over the shortest possible route. For me, math is—how should I put it?—math is all too natural. It’s like beautiful scenery. It’s just there. There’s no need to exchange it with anything else. That’s why, when I’m doing math, I sometimes feel I’m turning transparent. And that can be scary.

Acharya Balkrishna on Yog "Who will not be delighted to behold the exotic scenery and flora of the barren lands of Himalayas. Similar is the power of Yog which beautifies the deserted life and fructifies hope in the shattered hearts. By taking refuge in Yog, the fallow mind will blossom into flowers indeed.

It’s a sort of build up. You have to describe —” “You don’t build up this sort of story. You don’t describe the scenery and the characters. This sort of story is an entertainment for people who can’t be bothered with long and detailed explanations. You must plunge straight into the middle of the story on the very first page.” She smiled and added, “Here am I telling you how to write a novel … and I couldn’t write a novel to save my life.” All

I want to know I can pick up and go if I feel the need. If I’m feeling all done with what I’m doing, I want to be able to go do something else, somewhere else, soak in new scents, new scenery, new people, new challenges.” She smiled. She realized something else. “I miss the restlessness. The pull to head somewhere new, find something I’ve never seen, learn something I didn’t know.” “It’s comfortable, I would imagine,” he said. “And comforting. It’s what you know, what you understand. Makes you feel like you.” She nodded. “That’s exactly it.” It was a little overwhelming at times, how well he seemed to understand her, to get what she meant. But in the best possible way. “There’s one more part,” she said, finding the courage, knowing she needed to tell him the rest of it. “Of the all I want to have.” “Which is?” She lifted her head then, propped her chin on his chest, and looked into his beautiful blue eyes. “You.” The light that leaped into those eyes was almost startling in its fierceness. His hand stilled in her hair, his body seemed to vibrate a little, as if injected with a sudden shot of life. But he otherwise said nothing, didn’t move, didn’t roll her to her back and kiss her senseless. He just held her gaze and let her see everything her declaration made him feel. That emboldened her to go on, to give voice to the rest of it. “I want to go back to Cameroo, see everyone again, see if it feels the same, if it still calls to me like it did before.” She clung to his gaze. “Feel what it would be like to be there and be with you. Really with you.” She expected him to say something like he’d book her the next flight back, but instead he regarded her for a long moment, and she realized she was trembling by the time he spoke. “That’s a lot of all,” he said. She nodded, unable to say anything more. Then he surprised a gasp out of her by reaching for her and pulling her up on top of him, slowing rolling to his other side and tucking her under the shelter of his body. He slid his leg between hers, leveraged his weight on one forearm, and cupped her cheek in his free hand. He stared down so intently, so deeply into her eyes, she thought she might drown in all that deep, dark, bottomless blue. “Cooper,” she whispered, for once not having any idea what he was thinking. “Maybe there is a way to have it all,” he said, lowering his head to hers. “If you want me, Starfish, we’ll find that way.” “I do,” she said, the sudden prickle of tears surprising her, but it was such a huge rush finally to admit it, to tell him. To tell herself. “But--” “No buts,” he said, kissing the damp from the corner of one eye, then the other. “We’ll sort it out,” he said. “It’s what we do for the people we love.

Love is not a store you enter to fulfill your insecurities and unmet needs. Love is not a scenery or a picture perfect thing. Love is not taking. So many people see love as a destination or a servant to fulfill their desires. This is not love. Love is when you look into the mirror and you are at peace with yourself. Love is looking inward to heal all the broken part of yourself and forgive those slow to heal like you would forgive a child that is slow to learn. Love is remembering your inner child and appreciating your past no matter how much you regret it. Love the realization that everything in the past occured to teach you a lesson and improve you, to love you. Love is that moment before you drift off to sleep, that peace in trusting the process. Love is filling your cup first before you seek out another imperfect person , because people are imperfect, then giving from the overflow of your cup. Love is not expecting another human being to give you happiness. Love is knowing your are already overwhelmed with resources to give happiness to yourself and every life you touch. Love is giving. Because only when you give love from a place of fulfillment will you be able to receive the love that will fulfill you.

Much has been said of the sunrise at sea; but it will not compare with the sunrise on shore. It lacks the accompaniments of the songs of birds, the awakening hum of humanity, and the glancing of the first beams upon trees, hills, spires, and housetops, to give it life and spirit. There is no scenery. But, although the actual rise of the sun at sea is not so beautiful, yet nothing will compare for melancholy and dreariness with the early breaking of day upon “Old Ocean’s gray and melancholy waste.

The beauty of the inlet was nearly that of Peru, and I wondered at all this exposition God had created, as though it were an invitation to an epic so grand it might match the scenery. The mountains themselves call us into greater stories, I thought.

Ralph Waldo Emerson could write (in The Conduct of Life, 1860): ‘The influence of fine scenery, the presence of mountains, appeases our irritations and elevates our friendships.’ Mountains

There were days when Amory resented that life had changed from an even progress along a road stretching ever in sight, with the scenery merging and blending, into a succession of quick, unrelated scenes... He felt that it would take all time, more than he could ever spare, to glue these strange cumbersome pictures into the scrap-book of his life.

At least he could make sure he was with the right person. Wasn’t that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn’t everything else just scenery?

There are a thousand ways in which his neighbours can evaporate the essence which is all in all to him, while they at the same time give to his scenery ponderable value which to them is worth far more

Here are to be seen all the varied colors which Bierstadt and Church endeavor to represent in their mountain scenery. A journey across and around them on foot and upon horseback will well repay the tourist or artist. The air is pure and fragrant, and as exhorting as the purist wine; the climate entrancingly mild; the sky clear, and blue as the most beautiful sapphire, with here and there clouds of rarest loveliness, presenting to the eye the richest commingling of bright and varied colors; delightful odors are constantly being wafted by; while forests, filled with the mockingbird, the colibri, the hummingbird, and the thrush, constantly put forth a joyful chorus, and all combine to fill the soul with visions of delight and enhance the perfection and glory of the creation. Strong indeed must be the unbelief which can here contemplate nature in all her purity and glory, and unawed by the sublimity of this closely-connected testimony, question either the Divine origin or purpose of the beautiful firmament.

He was moving closer and he thought he was just like me, and I knew very well what that meant, what he would try to do. He was circling around downwind and polishing his fangs and blending with the scenery of my life. At any moment—now, tomorrow, next week—he might spring out at me from anywhere at all, and there was not a single thing in the world I could do about it. I was fighting a shadow in a dark room. But this shadow had real hands, holding real weapons. He could see in this darkness, and I could not, and he was coming, whether from the front or from behind, from above or below; all I could know was that he wanted to do what I do just the way I do it and he wanted to do it to me and he was coming. Closer …

The breeze was calm and the sun beamed between the scattering clouds. Glancing across the rolling heather-covered landscape and toward the burn, he didn't see Remy or anyone else. "Twas too bad that the heather was not in bloom for the sight would have been lovely. Glancing up, he noticed something else. A giant double rainbow spanned across the horizon, one slightly dimmer than the other. "Ah," he halted and turned in the saddle. "Have you ever seen such a bonny rainbow?" Shona gasped. "Nay. 'Tis very bright." Even lovelier, at least to Keegan, was Shona's smile as she took in the scenery. She was so beautiful, his chest ached. Yet, he knew not how he was going to keep her in his life so that he might see her smile every day.

Going With The Flow- July 8 "Go with the flow. Let go of fear and your need to control. Relinquish anxiety. Let it slip away, as you dive into the river of the present moment, the river of your life., your place in the universe. Stop trying to force the direction. Try not to swim against the current, unless it is necessary for your survival. If you've been clinging to a branch at the riverside, let it go. Let yourself move forward. Let yourself be moved forward. Avoid the rapids when possible. If you can't, stay relaxed. Staying relaxed can take you safely through fierce currents. If you go under for a moment, allow yourself to surface naturally. You will. Appreciate the beauty of the new scenery, as it is. See things with freshness, with newness. You shall never pass by today's scenery again! Don't think too hard about things. The flow is meant to be experienced. Within it, care for yourself. You are part of the flow, an important part. Work with the flow. Work within the flow. Thrashing about isn't necessary. Let the flow help you care for yourself. Let the flow help you set boundaries, make decisions, and get you where you need to be when it is time. You can trust the flow and your part in it. Today, I will go with the flow.

The scenery was vibrant and green. I was pallid and unsteady. I didn’t belong here. What had been so certain before—everything—was now in question. I wondered what I had left to give to a character that I had created and, in so many ways, had equally created me.

I have no scenery to help me and no words are written for me to speak. There is no curtain. But out of the vivid dream of somebody else’s life I have to create an atmosphere—for that is advocacy.

Grace was screwed. Royally screwed. As in, her career was over. Finished. Finite. She turned on the windshield wipers and slowed the car as she drove through the rain in the mountains. With a renewed grip on the steering wheel, she sent a quick prayer that the rain would stop. A little sprinkle she could handle. A storm...well, that was another matter entirely. She puffed out her cheeks as she exhaled. If only she was in Scotland for a holiday, but that wasn’t the case at all. In a last-ditch effort to give her muse a good swift kick in the pants, Grace decided to travel to Scotland. All her friends thought she had lost her mind. Her editor thought it was just one more excuse in a very long line of them as to why she hadn’t turned the book in. Grace wished she knew the reason the words just stopped coming. One day they were there, and the next...gone, vanished. Poof! Writing wasn’t just her career. It was her life. Because within the words and pages she was able to write about heroines who had relationships she would never have. It was the sad truth, but it was the truth. Grace accepted her lot...in a way. She might realize the string of miserable dates were complete misses and admit that. However, the stories running through her head allowed her to dream as far as she could, and encounter men and adventures sitting behind a computer never would. Not being able to find the words anymore was like having someone steal her soul. She breathed a sigh of relief when the rain stopped and she was able to turn off her windshield wipers. In the two hours since she checked into the B&B, it hadn’t stopped raining. Rain was a part of being in Scotland, and she was pushing herself with her fear of storms to be out in it as well. It proved how far she would go to find her soul again. She needed to write, to sink into another world where she could find happiness and a love that lasted forever. Now she was armed with her laptop and steely determination. She would find her muse again. Just as soon as she found the right place. The scenery along the highway was stunning, but the noise of the passing vehicles would be too much. Grace needed somewhere off the beaten path. Somewhere she could pretend she was the only person left in the world.

It felt important to be able to pick up and go whenever this endless stirring and inevitable craving for a change of scenery would bubble over because I didn’t want to die someday yearning for something else when it was only “something else” worth living.

Photos Cherish who you are now If you have been sorting and discarding things in the order I recommend, you have likely stumbled across photographs in many different places, perhaps stuck between books on a shelf, lying in a desk drawer, or hidden in a box of odds and ends. While many may already have been in albums, I’m sure you found the odd photo or two enclosed with a letter or still encased in the envelope from the photo shop. (I don’t know why so many people leave photos in these envelopes.) Because photos tend to emerge from the most unexpected places when we are sorting other categories, it is much more efficient to put them in a designated spot every time you find one and deal with them all at the very end. There is a good reason to leave photos for last. If you start sorting photos before you have honed your intuitive sense of what brings you joy, the whole process will spin out of control and come to a halt. In contrast, once you have followed the correct order for tidying (i.e., clothes, books, papers, komono, sentimental items), sorting will proceed smoothly, and you will be amazed by your capacity to choose on the basis of what gives you pleasure. There is only one way to sort photos, and you should keep in mind that it takes a little time. The correct method is to remove all your photos from their albums and look at them one by one. Those who protest that this is far too much work are people who have never truly sorted photos. Photographs exist only to show a specific event or time. For this reason, they must be looked at one by one. When you do this, you will be surprised at how clearly you can tell the difference between those that touch your heart and those that don’t. As always, only keep the ones that inspire joy. With this method, you will keep only about five per day of a special trip, but this will be so representative of that time that they bring back the rest vividly. Really important things are not that great in number. Unexciting photos of scenery that you can’t even place belong in the garbage. The meaning of a photo lies in the excitement and joy you feel when taking it. In many cases, the prints developed afterward have already outlived their purpose. Sometimes people keep a mass of photos in a big box with the intention of enjoying them someday in their old age. I can tell you now that “someday” never comes. I can’t count how many boxes of unsorted photographs I have seen that were left by someone who has passed away. A typical conversation with my clients goes something like this: “What’s in that box?” “Photos.” “Then you can leave them to sort at the end.” “Oh, but they aren’t mine. They belonged to my grandfather.” Every time I have this conversation it makes me sad. I can’t help thinking that the lives of the deceased would have been that much richer if the space occupied by that box had been free when the person was alive. Besides, we shouldn’t still be sorting photos when we reach old age. If you, too, are leaving this task for when you grow old, don’t wait. Do it now. You will enjoy the photos far more when you are old if they are already in an album than if you have to move and sort through a heavy boxful of them.

Neal made up his mind as soon as he saw it. The future was going to happen, even if he wasn’t ready for it. Even if he was never ready for it. At least he could make sure he was with the right person. Wasn’t that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn’t everything else just scenery?

It was hard, moving on with life. It was so easy to stay in the same place when it became comfortable and easy. But if you stayed in that place long enough, the joy and zest of life faded a little bit. Without adventures and changes in the scenery from time to time, life could grow stale and old.

I marched along the familiar paths, hoping a fast stride would keep me warm. Part of me was enjoying the peaceful scenery while the other part pondered my newly altered circumstances. I never wallow in self-pity, for there is nothing to be gained by such indulgences, but I confess to feeling just a bit irritated. “If only I’d had the good fortune to be a widow!” I muttered to myself crossly, kicking at a pebble in my path. Instead of a divorcée, that is to say. Quelle différence! My present circumstances would be much improved by my having lost my husband in some war, rather than by the shocking action of booting him from my life. It isn’t fair, but there we are.

he’d stayed, nailed to a single tree but only because he’d grown used to the scenery around it. It was amazing what could be endured when in the grip of inertia. He had reached a point where anything strange, unfamiliar, was cause for fear. But unlike his brothers and sisters, Mappo could not ride that fear across the full span of his life. For all that, it had taken the horror he now approached to prise him from the tree.

Life without dreams is a voyage without a scenery

The future was going to happen, even if he wasn't ready for it. Even if he was never ready for it. At least he could make sure he was with the right person. Wasn't that the point of life? To find someone to share it with? And if you got that part right, how far wrong could you go? If you were standing next to the person you loved more than everything else, wasn't everything else just scenery?

It feels right, more and more often, to let the boys’ desires define our decisions—not in every way, but in some. The hours we’ve spent in the driveway this spring are some of the sweetest we’ve spent together. Aaron and I aren’t homebodies at all, not routine people even a little. We love to travel, love the changes of scenery and adventure. But our boys are teaching us about home, about patterns, about the most meaningful ways to spend our time. Our home is becoming more an anchor and less a place to land for a hot minute between work trips. Our driveway, of all places, is becoming the place where our life unfolds, and I’m loving the change.

The scenery is colorless and depressing. It looks as though life in Hell is very harsh. And lonely. Very, very lonely.

That evening, when we parted with just a bye, as if we had thousands of encounters left - if only I knew that would be our last, I would have smiled a little more. I would have made you laugh a little more. I would have held onto your bag a little more tightly. I would have watched less of sceneries and more of you. I would have bravely held your hands. I would have told you how grateful I was, to be loved this way – innocent and warm. I would have told you how much I cherish all our little moments. Even though all we ever exchanged were toffees, how happy I was to receive them. I would have told you to live a happy life. I would have told you to miss me, just once in a while. Because I will be doing that, all the time. You would have smiled a little more then, my last image of you would have been a happier one.

Although a book or story may provide lengthy descriptions of characters, plots, and scenery, our imagination and creativity bring them to life in our minds.

Far from trying to parade his wealth, he wanted to blend into the scenery.

Jesus appears to have walked unstressed and unhurried. His peaceful pace seems to imply that he measured himself not by where he was going and how fast he could get there but by whom he was following and how closely they walked together. Patience grows well in such soil. She is the ally of a soul that makes God its primary pursuit, because in this journey called life, regardless of the scenery, such a soul is deeply contented in the Company.

Separation from God includes separation from all good. Many of us tend to think that the good things we experience, such as sunshine, fresh air, food, water, and beautiful scenery, are from Mother Nature. These things experienced are not from Mother Nature—but from Father God. James 1:17 states, “Every good gift and every perfect gift is from above, and comes down from the Father of lights.” Hell, on the other hand, is a place “prepared” for the devil and his angels—a place where all of the attributes of God are completely withdrawn. Psalm 33:5 states, “The earth is full of the goodness of the LORD.” People get to enjoy God’s goodness here in life. But if they deny Him, then after this life they will no longer have the privilege of enjoying His goodness. There is no such thing as “good” without God. You cannot separate the two.

The usual dodge for loners is to read or make journal entries or watch scenery intently, but that's a giveaway. The mark of a person travelling alone is to look resolute.

Life is a long road trip, you may see beautiful scenery on your way to your final destination, you may see fair and bad as well, but in the end it will all be worth it, all you can do is take the best of it. And enjoy the ride.

I AM is that reality to which, whatever happens, we must turn for an explanation of the phenomena of life. It is I AM's concept of itself that determines the form and scenery of its existence. Everything depends upon its attitude towards itself; that which it will not affirm as true of itself cannot awaken in its world. That is, your concept of yourself, such as "I am strong", "I am secure", "I am loved," determines the world in which you live.

Life is a beautiful adventure playground, with lots of obstacles to overcome; not just to admire the scenery.

Pulled in different directions, my life is shattered into pieces and bogged down in complicated details that eradicate time. There is no progress. Nothing is being completed. Words are put on hold. I keep telling myself and others, I’m writing, I’m writing. In fact, I am stuck fast in one place. It’s as if I’m watching the scenery behind me grow farther away as I look in a car’s rear-view mirror. New events, news, emotions are like an audio tape on a loop, being overwritten and reloaded. The world is changing too fast. What once blazed so bright has turned cold and cheerless and is now drastically changed. In contrast, writing is so slow. It lags behind, resulting in a colossal time difference.

[...] It struck me that if 1 stared long enough at the environment that I would blend with it and disappear just as if the place was empty and 1 had disappeared. It is as if you get yourself to feel you don't know who you are or where you are. To blend into the scenery so to speak. Then, you are scared of it because it begins to come on without encouragement. I would just be walking along and felt that I had blended with the landscape. Then I would get frightened and repeat my name over and over again to bring me back to life, so to speak.

Real life is different from math. Things in life don’t necessarily flow over the shortest possible route. For me, math is—how should I put it?—math is all too natural. It’s like beautiful scenery. It’s just there. There’s no need to exchange it with anything else.