Silhouette Tree Quotes

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

A slight breeze cooled the Hawaiian spring air, swaying the branches of palm trees, which cast black silhouettes against the purple and orange colors of the twilight sky.

We were in the autumnlands. Dim as it was, the forest glowed. The golden leaves flashing by blazed like sparks caught in the updraft of a fire. A scarlet carpet unrolled before us, rich and flawless as velvet. Rising from the forest floor, the black, tangled roots breathed a bluish mist that reduced the farthest trees' trunks to ghostly silhouettes, yet left their foliage's luminous hues untouched. Vivid moss speckled the branches like tarnished copper. The crisp spice of pine sap infused the cool air over a musty perfume of dry leaves. A knot swelled in my throat. I couldn't look away. There was too much of it, too fast. I'd never be able to drink it all in...

When I was little, I was afraid of monsters. I mistook the silhouettes flitting to and fro in the midst of the bamboo trees for ghost and other horrors. But now, I'm scared of other people, people who you imagine will just jump out form behind the brush to attack you. What age was I when I started to replace the ghosts with people?

A writer is dreamed and transfigured into being by spells, wishes, goldfish, silhouettes of trees, boxes of fairy tales dropped in the mud, uncles' and cousins' books, tablets and capsules and powders...and then one day you find yourself leaning here, writing on that round glass table salvaged from the Park View Pharmacy--writing this, an impossibility, a summary of who you came to be where you are now, and where, God knows, is that?

Sometimes, a day comes along that seems possessed by a certain shade of magic. You know those moments. There is a peculiar pattern to the silhouettes of leaves quivering against the sunbeam on the floor. The dust in the air glows white, charmed. Your voice is a note suspended in the breeze. The sounds outside your window seem very far away, songs of another world, and you imagine that this is the moment just before something unusual happens. Perhaps it is happening right now. My day of magic arrived on a bright autumn morning, when the poplar trees swayed against a golden city.

Solitude makes me feel calm. The rain affects me differently. Books never make me feel lonely. I love hugging trees, and sleeping on grass. Can't help being addicted to coffee and writing. What about you?

She died." I had to prompt him. "Soon after?" "In the early hours of February the nineteenth, 1916." I tried to see the expression on his face, but it was too dark. "There was a typhoid epidemic. She was working in a hospital." "Poor girl." "All past. All under the sea." "You make it seem present." "I do not wish to make you sad." "The scent of lilac." "Old man's sentiment. Forgive me." There was a silence between us. He was staring into the night. The bat flitted so low that I saw its silhouette for a brief moment against the Milky Way. "Is this why you never married?" "The dead live." The blackness of the trees. I listened for footsteps, but none came. A suspension. "How do they live?" And yet again he let the silence come, as if the silence would answer my questions better than he could himself; but just when I had decided he would not answer, he spoke. "By love.

And if the air is chilly she feels it - in fact, if you put your hand on her arm you would know she still remembers how touching changed the weather, how a hand skimming the wrist was once a window opening onto a better season where people did better things than be lonely, where the wind was a river of candlelight pushing the blue silhouettes of trees.

Did you know, that one night; one moonless, clear, shining night; with the shadowy silhouettes of trees crisp against the star-filled sky – I, on the high, level terrace of my flat, stretched out my hand! Against all odds and possibilities of unbelief and grief – a life of searchings, discontent, and a nagging sense of unreality… A spider-web intuition of a spread-out, intricate illusion that wilfully withheld the truth from me.

She walked down the lawn and surveyed the world as they'd both seen it--the wild limbs of the leaning apple tree, the golden-brown evening sky, the black silhouettes of the mountains. The trunk and the branches of the tree had bent over the years, under the weight of the heavy fruit. One of the biggest branches had grown down from the canopy of the leaves, all the way to the ground and straight along the grass...the end of that same branch had begun growing up again, at a right angle, the wood bending toward the sky.

How beautiful it was, lying embowered in the twilight of the old trees; the tops of the loftiest sources came out in purple silhouette against the north-western sky of rose and amber; down behind it the Blair Water dreamed in silver; the Wind Woman had folded her misty bat-wings in a valley of sunset and stillness look at over the world like a blessing.

Silhouettes of Trees Under the full moon, silhouettes of trees hopscotch on the street, a trysting place where ghosts and my dark dreams like to meet.

The sun was soft honey and rose colored along the horizon; the old trees were deep black silhouettes against it, with long purple shadows sliding out from their earth-slippered feet.

In your rare embrace, sometimes I am lost nowadays. In these years, you have changed. I have changed. Every single day, we’re fighting our feuds silently; inventing devious ways to hurt one another. Our gazes keep to our feet: wavering, pirouetting and crisscrossing, so as to not stumble, even inadvertently, upon each other. Our windows look out at other windows looking in at us. Mynahs no longer come by in our balconies. Branches, not of a mango tree, but of a conglomerate, surround them instead. The silhouettes of concrete buildings sometimes shine in the rain's aftermath, but remain concrete. Today, as the Ganga rises and rages all over the city, people run for their lives, but I let it wash over my soul and flood my tears.’ ('Left from Dhakeshwari')

On the Gulf side of these islands you may observe that the trees—where there are any trees—all bend away from the sea; and, even of bright, hot days when the wind sleeps, there is something grotesquely pathetic in their look of agonized terror. A group of oaks . . . I remember as especially suggestive: five stooping silhouettes in line against the horizon, like fleeing women with streaming garments and wind-blown hair,—bowing grievously and thrusting out arms desperately northward as to save themselves from falling. And they are being pursued indeed;—for the sea is devouring the land.

Through the darkness and the tender trees we could see the arabesques of lighted windows which, touched up by the colored inks of sensitive memory, appear to me now like playing cards – presumably because a bridge game was keeping the enemy busy. She trembled and twitched as I kissed the corner of her parted lips and the hot lobe of her ear. A cluster of stars palely glowed above us, between the silhouettes of long thin leaves; that vibrant sky seemed as naked as she was under her light frock. I saw her face in the sky, strangely distinct, as if it emitted a faint radiance of its own.

Tree' is the title of a dance, is the cadence of a song. The black silhouette is only a moment of stillness caught by the shutter of the eye. It is finely tuned to the harmonics of the air. It loves both the sun and the wind and is let turn towards its beloved and so become itself. This is the dance of all living things. This is why endangered peoples say if they have their dance they will never die.

How beautiful it was, lying embowered in the twilight of the old trees; the tips of the loftiest spruces came out in purple silhouettes against the north-weatersn sky of rose and amber; down behind it the Blair Water dreamed in silver; the Wind Woman had folded her misty bat-wings in a valley of sunset and stillness that lay over the world like a blessing. Emily felt sure that everything would be all right.

We were quiet beneath the old light above us. i was thinking about how the sky - at least this sky - wasn't actually black. The real darkness was in the trees, which could be seen only in silhouette. The trees were shadows of themselves against the rich silver-blue of the night sky.

In Wally’s bedroom Homer marveled at how the world was simultaneously being invented and destroyed. Nothing marvelous about that, Dr. Larch would have assured him. At St. Cloud’s, except for the irritation about sugar stamps and other aspects of the rationing, very little was changed by the war. (Or by what people once singled out as the Depression, thought Wilbur Larch.) We are an orphanage; we provide these services; we stay the same – if we’re allowed to stay the same, he thought. When he would almost despair, when the ether was too overpowering, when his own age seemed like the last obstacle and the vulnerability of his illegal enterprise was as apparent to him as the silhouettes of the fir trees against the sharp night skies of autumn, Wilbur Larch would save himself with this one thought: I love Homer Wells, and I have saved him from the war.

Nina opened the book to the first painting and widened her eyes. It was of a dark forest with a hint of glowing blue light in the background. The trees stood like the silhouettes of soldiers in formation, awaiting commands. Nina couldn’t turn the page – this painting was luring her into an enchanted and mysterious world.

Pressing my nails firmly into the bark of the tree, I watch as a silhouette reveals itself in the moonlight. Tall and built, the human frame enters the clearing that I stand in. My eyes are immediately drawn to the breathtaking sight of his face. I am familiar with those deep brown eyes, which draw me gently towards him. I let him pull me into his warm embrace. “Kirano!” I breathe, pressing my head against his regal blue jacket. I can hear his heart beating rapidly with excitement. “Aisha,” Kirano’s voice is as soothing as I remember. Looking up, I see his warm, adoring smile. “I see that you tied your favourite silk scarf to the tree.

Few things in nature can compare to the long, mournful wail of a loon echoing across water and through the forest. It’s an evocative sound that will stick with you for the rest of your life and make you nostalgic for things that never even happened to you. Eerie, yet beautiful, the sound will conjure up images of solitude near mountain lakes and ponds, shrouded in fog during the early morning or late dusk, surrounded by the silhouettes of pine trees. It’s a sound that relaxes and submerges you into the tranquility of nature. I don’t think there is another sound in the world that reminds me of the wilderness more so than the wail of a loon.

How beautiful it was, lying embowered in the twilight of the old trees; the tips of the loftiest spruces came out in purple silhouette against the north-western sky of rose an amber; down behind it the Blair Water dreamed in silver; the Wind Woman had folded her misty bat-wings in a valley of sunset and stillness lay over the world like a blessing.

As his drove past the silhouettes of maple trees, stefan cringed from the memory that sprang up suddenly. He would not think that, he would not let himself... but the images were already unreeling before him. It was as if the journal had fallen open and he could do no more than stare helplessly at the page while the story played itself out in his mind...

Nevertheless, there was something extraordinary about it when a man so young, with so little experience in flight test, was selected to go to Muroc Field in California for the XS–1 project. Muroc was up in the high elevations of the Mojave Desert. It looked like some fossil landscape that had long since been left behind by the rest of terrestrial evolution. It was full of huge dry lake beds, the biggest being Rogers Lake. Other than sagebrush the only vegetation was Joshua trees, twisted freaks of the plant world that looked like a cross between cactus and Japanese bonsai. They had a dark petrified green color and horribly crippled branches. At dusk the Joshua trees stood out in silhouette on the fossil wasteland like some arthritic nightmare. In the summer the temperature went up to 110 degrees as a matter of course, and the dry lake beds were covered in sand, and there would be windstorms and sandstorms right out of a Foreign Legion movie. At night it would drop to near freezing, and in December it would start raining, and the dry lakes would fill up with a few inches of water, and some sort of putrid prehistoric shrimps would work their way up from out of the ooze, and sea gulls would come flying in a hundred miles or more from the ocean, over the mountains, to gobble up these squirming little throwbacks. A person had to see it to believe it: flocks of sea gulls wheeling around in the air out in the middle of the high desert in the dead of winter and grazing on antediluvian crustaceans in the primordial ooze. When

The wind had blown off, leaving a loud, bright night, with wings beating in the trees and a persistent organ sound as the full bellows of the earth blew the frogs full of life. The silhouette of a moving cat wavered across the moonlight, and, turning my head to watch it, I saw that I was not alone—fifty feet away a figure had emerged from the shadow of my neighbour’s mansion and was standing with his hands in his pockets regarding the silver pepper of the stars.

Then he said something about how L.A. is dust and exhaust and the hot, dry wind that sets your nerves on edge and pushes fire up the hillsides in ragged lines like tears in the paper that separates us from hell, and it’s towering clouds of smoke, and it’s sunshine that won’t let up and cool ocean fog that gets unrolled at night over the whole basin like a clean white hospital sheet and peeled back again in the morning. It’s a crescent moon in a sky bruised green after the sunset has beaten the shit out of it. It’s a lazy hammock moon rising over power lines, over the skeletal silhouettes of pylons, over shaggy cypress trees and the spiky black lionfish shapes of palm-tree crowns on too-skinny trunks. It’s the Big One that’s coming to turn the city to rubble and set the rubble on fire but not today, hopefully not today. It’s the obviousness of pointing out that the freeway looks like a ruby bracelet stretched alongside a diamond one, looks like a river of lava flowing counter to a river of champagne bubbles. People talk about the sprawl, and, yeah, the city is a drunk, laughing bitch sprawled across the flats in a spangled dress, legs kicked up the canyons, skirt spread over the hills, and she’s shimmering, vibrating, ticklish with light. Don’t buy a star map. Don’t go driving around gawking because you’re already there, man. You’re in it. It’s all one big map of the stars.

Sophia shielded her eyes with her hand and peered up at the Irishman’s face. His hard eyes wandered form her hand, to her face, to the sketch in her lap. He made a gruff noise in his throat-the sort of noise men make when they’re working up to saying something and don’t quite know how to get it out, but want to keep up the aura of brute masculinity in the midst of their indecision. He was making Sophia nervous. He meant to ask her something, and she was afraid to learn just what. “Yes?” she prompted. “The crew…We had it out between ourselves, Miss Turner. There were a bit o’ scuffling, but I came out on top.” He suddenly crouched before her, transforming his silhouette from tree-trunk to boulder in an instant. His craggy face split in a devilish grin. “I get to be first.

So we begin with a very simple object of attention, like the breath, and train ourselves to return to it even as we get distracted over and over again. This first insight into the habit of distraction leads us to understand the value and importance of steadying our attention, because the worlds we create in ourselves and around us all have their origins in our own minds. How many different mind-worlds do we inhabit in our thoughts, even between one breath and the next? And how many actions do we take because of these unnoticed thoughts? By first taking a particular object of concentration and then training the mind to stay focused on it, we can develop calmness and tranquillity. The object may be the breath, a sound or mantra, a visual image, or certain reflections, all of which serve to concentrate the mind. At first, this requires the effort of continually returning each time the mind wanders off. With practice, though, the mind becomes trained, and then rests quite easily in the chosen object. In addition to the feelings of restfulness and peace, the state of concentration also becomes the basis for deepening insight and wisdom. We find ourselves opening to the world’s suffering as well as to its great beauty. Through the power of increased awareness, simple experience often becomes magically alive: the silhouette of a branch against the night sky or trees swaying in the invisible wind. The way that we sense the world becomes purified, our perception of the world transformed. Marcel Proust wrote, “The real voyage of discovery consists not in seeing new landscapes but in having new eyes.

The light was grainy, dusty; it looked like the Milky Way had spread from the top of the sky all down the west, and the tented shapes of the mountains were huge and satin black against it, and the ridgeline trees made a filigree of onyx. The wind had increased but not cooled; the promise of full summer was in it. And when Dr. Barcroft turned from the west to look again at the house, he was hardly surprised to see that it had begun to turn like a wheel upon a vertical axle as the silhouettes of the dancers raced past window after window. It was as if their dancing, the female slide and shuffle, the masculine drum and thunder, propelled the house behind them; it had become a merry-go-round, turning steadily and stately as the music went just a little bit faster, just a little more, and he could tell there were furies in it, whirlwinds and cyclones and hurricanes that Quigley's fiddle barely held in check, that his calling could barely control.

He would muse about the greatness and the living presence of God; about the strange mystery of the eternal future; about the even stranger mystery of the eternal past; about all the infinities streaming in every direction before his very eyes; and, without trying to comprehend the incomprehensible, he saw it. He did not study God, he was dazzled by Him. He considered the magnificent collision of the atoms that produce what we see of matter, showing the forces at work by observing them, creating individuality within unity, proportion within extension, the numberless within the infinite, and producing beauty through light. Such collisions are constantly taking shape, bringing things together and pulling them apart; it is a matter of life and death. He would sit on a wooden bench with his back against a decrepit trellis and he would gaze at the stars through the scrawny stunted silhouettes of his fruit trees. This quarter-acre patch of ground, so sparsely planted, so crowded with sheds and shacks, was dear to him, was all he needed. What more could an old man need when he divided whatever spare time his life allowed, he who has so little spare time, between gardening of a day and contemplation of a night? Surely this small enclosure, with the sky as a ceiling, was enough to enable him to worship God by regarding His loveliest works and His most sublime works, one by one? Isn't that all there is? Indeed, what more could you want? A little garden to amble about it, and infinite space to dream in. At his feet, whatever could be grown and gathered; over his head, whatever could be studied and meditated upon; a few flowers on the ground and all the stars in the sky.

experienced in far too long. But as soon as the little girl turned away, as soon as that connection was broken, Adrienne was flooded once more with the weight of her isolation. She thought she had managed to put all that away from her; she thought she had become adept at living with seclusion and silence. Now the force of her solitude threatened to knock her to her knees. She ached with longing—a longing she had not felt for many, many years. The pine trees were completely black now, only silhouettes against the almost-black sky. Shades of gray filled the streets, as if all of

From sheer nervousness, or to linger for a moment, I'd urinate at the wayside; scanning the darkness before me, a cherry stump behind me, I'd piss a meticulous semicircle in the ashes at my feet. Crossing this line and looking back as I walked onward, I'd think I saw foggy vapors rise from the place I'd circled with my water, and those vapors took on almost human form, those figures' spectral silhouettes beckoned, and words came, barely audible: Don't forget us! -- They couldn't follow me; their souls were bound; I'd nailed them to the imaginary cross of a nonexistent cherry tree.

It is eerie and uncanny how Luca has the ability to read my mind. “Will you go back now to London, Violetta?” he asks, his black brows lifting, his expression concerned. “Italia has not been good to you. Maybe you think you should go home, where these bad things do not happen.” “Do you want me to go?” I ask, feeling very insecure. I couldn’t blame him, I realize with huge sadness. We’re in a real mess. Perhaps the best thing would be for me to go away and never come back. Luca’s lips tighten into a hard line. Slowly, he shakes his head. “It’s hard to know what’s best,” he says. “But I do not want you to go.” “I don’t want to go either,” I say in a whisper. He takes in a deep breath and lets it out again. We stand there silent, because we don’t know what more to say. I realize that shadows are stretching across the terrace. The air is milder, an evening breeze blowing softly. There’s a rustling sound from the cypress trees in the garden below, and we look over to see the first few bats emerging from the branches, circling slowly in the darkening sky. I think we’re both grateful to have something else to concentrate on. We walk across the terrace and lean on the stone balustrade, elbows almost but not quite touching. And we watch the black shapes rise and fall, the red streaks of sunset fading from the sky, and a clear white curve of moon rising slowly behind the dark silhouettes of the trees.

Criminals beheaded in Palermo, heretics burned alive in Toledo, assassins drawn and quartered in Paris—Europeans flocked to every form of painful death imaginable, free entertainment that drew huge crowds. London, the historian Fernand Braudel tells us, held public executions eight times a year at Tyburn, just north of Hyde Park. (The diplomat Samuel Pepys paid a shilling for a good view of a Tyburn hanging in 1664; watching the victim beg for mercy, he wrote, was a crowd of "at least 12 or 14,000 people.") In most if not all European nations, the bodies were impaled on city walls and strung along highways as warnings. "The corpses dangling from trees whose distant silhouettes stand out against the sky, in so many old paintings, are merely a realistic detail," Braudel observed. "They were part of the landscape." Between 1530 and 1630, according to Cambridge historian V.A.C. Gatrell, England executed seventy-five thousand people. At that time, its population was about three million, perhaps a tenth that of the Mexica empire. Arithmetic suggests that if England had been the size of the Triple Alliance, it would have executed, on average, 7,500 people per year, roughly twice the number Cortes estimated for the empire. France and Spain were still more bloodthirsty than England, according to Braudel.

Silhouettes A crow perches inside me. Actually, it is a whale. It is hard to tell by touch alone. Nothing I own ever looks me properly in the eye. Sometimes a loud caw at dusk feels like the largest mammal on Earth. A deep breath out the blowhole into my stomach. One second it swims and the next it is a small extension of a tree. This is a kind of beginning— a finger puppet show. The light dancing around my hands. Me dancing alone on a stem. A persimmon blooms. A boy learns a song and plants it in an orchard. Inside of me the large creatures change their shapes to fit. A blackbird. An organ. Animals with no names. I send them off into the world daily. Little sadness takes flight. Love is a brave child. These things take the shape of their containers. I don’t have to do anything to hold them.

Ghetel was clawing at the rotten bark on the underside of the big fallen tree that sheltered them. Bark debris and wood-punk kept falling on the blanket. Ghetel, a silhouette against the half-light, would scrabble in the decaying wood for a moment, then pause and put something to her mouth

A brief examination of the gray bluff revealed a narrow cleft leading to the top of the precipice. Joe, ascending first, found himself on another path which seemed to rim the island from the top of the bluffs. “Here’s the trail the hermit used to keep us in sight yesterday,” he told the others. After scrambling up, Frank, Tony, and Jerry paused for a look about. Below them sparkled the bright ocean, extending to the mainland a few miles away. Behind lay a little plateau, overgrown with small pines and scrub oaks. In the center of the flat area rose a steep, rocky hill which gave the island its humping silhouette. “A hut would be easy to camouflage among those trees,” Frank remarked. “We’ll have to spread out and comb every foot of the woods.” Though the youths worked carefully around the plateau, they found no sign of any shelter. On the island’s seaward side, where the growth was sparse, the boys checked the sides of the steep hill for caves. They saw none.

It’s an awful sound, one that makes Joseph’s teeth hurt, like someone’s taken a swarm of some particularly vicious cousin of the cicada, tossed them all in a bag, and given the bag a shake, pissing them off. And yet Joseph feels there are words in that buzz. The thing in the trees is calling out a message, like a warning—This territory is mine. Stay off. Gracie motions to him to stoop down low, and they begin to creep around the area the sound came from. As they pass through one glen Joseph looks up through the branches, and he sees something at the top of a tree, near the trunk. It is dark, but he thinks he sees the silhouette of a man, balanced perfectly on a high branch like a rooster on top of a barn. In the starlight Joseph thinks he can make out the edge of the man’s face, and while he can discern a nose and a mouth, he cannot see any ears, or eyes… as he looks closer, the dark figure shifts a little on the branch, settles back its shoulders, and it lifts its head, and as it does the horrible buzz fills the forest again. Joseph feels his heart ratchet up its rate until he can feel his pulse in his eyes. The shadowy figure in the tree trembles as the buzz dies to a close, and he can see the thing begin looking around from the top of the tree, searching for intruders…

A heron swoops the water. A princely, primitive bird, each of its enormous slate-blue wings unfolds effortlessly as a chaise longue. The heron foot-drags the stream. Then it sails aloft and, turning, reveals the silhouette of a pteranodon. I like to divine the lasting essence of this place. I like to feel intimations of something akin to those tutelary spirits—near at hand, beyond spectrum of the visible—to whom Celts built menhirs and dolmens; spirits the pagan Romans called genii loci. Thracian shepherds would have known Duck Run inhabited by potamids, nymphs of rivers and streams. Shinto worshippers in Japan paid homage to divine spirits of leaves, to sacred life coursing through roots and bodies of trees, the kami spirits of wind and water. I like to feel what they felt. I like to hear what they heard: the land improvising always—in zephyr, in freshet—its oracular speech, its earth-jazz, its wild glossolalia.

ombre /ɔ̃bʀ/ I. nm (poisson) grayling II. nf 1. (ombrage) shade • 30° à l'~ | 30° in the shade • rester à l'~ | to stay in the shade • à l'~ d'un figuier | in the shade of a fig tree • l'arbre (nous) fait or donne de l'~ | the tree provides shade • tu leur fais de l'~ | (lit) you're (standing) in their light; (fig) you're putting them in the shade • à l'~ de qn/qch (fig) (tout près) near sb/sth; (protégé par) under the protection of sb/sth • rester dans l'~ de qn | to be in sb's shadow 2. (forme portée) shadow • faire/projeter des ~s sur le mur | to make/cast shadows on the wall • avoir peur de son ~ | to be scared of one's own shadow • suivre qn comme une ~ | to be sb's shadow • n'être plus que or être l'~ de soi-même | to be the shadow of one's former self voir aussi: proie 3. [liter] (pénombre) darkness 4. (anonymat, clandestinité) • peintres réputés ou dans l'~ | renowned or obscure painters • laisser certains détails dans l'~ | to be deliberately vague about certain details • agir dans l'~ | to operate behind the scenes • rester dans l'~ | [manipulateur] to stay behind the scenes; [poète] to remain in obscurity; [détail] to be left vague • combattants de l'~ | underground fighters 5. [liter] (trace) hint • une ombre de moustache a hint of a moustache • l'~ d'un reproche/d'un accord | a hint of reproach/of an agreement • une ~ de regret/tristesse passa dans son regard | a shadow of regret/a look of sadness crossed his/her face • sans l'~ d'un doute | without a shadow of a doubt • sans l'~ d'une preuve | without the slightest shred of evidence 6. • l'~ (procédé) shading [u] • faire des ~s | to shade 7. (silhouette indécise) shadowy figure • le royaume or séjour des ~s | the Kingdom of the Shades III. Idiomes 1. mettre qn/être à l'ombre○ | (euph) to put sb/be behind bars (familier) 2. marcher à l'ombre○ | to keep out of the limelight 3. l'homme qui tire plus vite que son ombre | the fastest gun in the West 4. passer comme une ombre | to be ephemeral 5. courir après une ombre | to chase rainbows 6. il y a une ombre au tableau | there is only one thing wrong 7. jeter une ombre au tableau | to spoil the picture (fig) 8. la seule ombre au tableau | the only snag

The silhouette of the mountains and hills whisper great secrets, mystery plays in the hidden shadows behind the looming tree-line. Quietly I gaze at the rich colours and place the scene within words of my books.

A tree is my keeper, a warrior silhouette.

The day’s colors slowly dissolved into gray, and the distant mountain peaks became opaque silhouettes of crouching giants. Earlier in the day, they had passed by several villages, most of them far-flung and dusty just like Shadbagh. Small square-shaped homes made of baked mud, sometimes raised into the side of a mountain and sometimes not, ribbons of smoke rising from their roofs. Wash lines, women squatting by cooking fires. A few poplar trees, a few chickens, a handful of cows and goats, and always a mosque.

My memory of the event stops at this point, like a scene that is held in the eye in the moments after a lamp is turned out. I can recall the burnished surface of the river flowing by, the rotations of birdsong from the trees behind us, and the imprint of my father's fingers on my forehead where he had brushed away my hair. But of my father I remember nothing save an impression of his lean body, perched on a rock, in white featureless silhouette as if his image had been carefully cut from a photograph. the image stays with me still. "Do you understand?" the silhouette says. I nod and say nothing.

As long as the earth endures, seedtime and harvest, cold and heat, summer and winter, day and night will never cease.” —Genesis 8:22 (NIV) As I walked to my mom’s house next door, I looked at the silhouettes of birds in the trees with the sun setting behind them. The road was still warm beneath my bare feet, and my leg muscles were tired from hours spent doing yard work and clearing the garden for winter (or “putting it to bed” as my husband calls it). Blackbirds rested on the stark branches, watching me until I was just beneath them, and then they flew away in a rush of energy. Today was warm. The sun bright. Most of our trees have lost their leaves, but our maple by the barn was holding on, wearing its marvelous colors like an ornate cloak. “Sabra, put shoes on!” the neighbor shouted from her doorway. “It’s nearly winter, don’t you know?” This is our joke. Every season she notices my feet and my tendency to be barefoot as long as possible. In March she calls out, “It must be spring! You don’t have shoes on!” And then when the snow falls, she yells, “Oh no, look at those boots! We must be in for a long winter.” With each step, I feel the warm tarry road beneath my feet. In a week or two, I’ll be wearing big thick socks and warm shoes. For now, I take in the beauty of a sunny path and hold it as a gift to help me through the long winter ahead. Dear Lord, may I always be mindful of the beauty in every season You have placed beneath my feet. —Sabra Ciancanelli Digging Deeper: Ps 19:1; Eccl 3:1–4

McClury folded back the rifle’s bipod and stood, disturbing the light covering of snow that lay across his body. His weapon was an Accuracy International L96, a bolt-action rifle made by the Brits. In McClury’s opinion one of the best all-round rifles in the world for this type of work. Precise and powerful but not too big or heavy. He’d used enough of them in the past to qualify his opinion. He wore white Gore-Tex pants, a jacket with a hood, and a white ski mask. The rifle’s furniture had been wrapped in strips of white electrical tape. McClury unbuttoned and unzipped the jacket and threw it off. It was camouflage and protection against the cold but impeded movement. Underneath he wore a black thermal shirt. He felt the chill immediately, but for now he could live with it. He left the white ski mask in place. His hide was a little under five hundred yards away, overlooking the target’s chalet. McClury had been set up just under the crest of a snowy outcrop dotted with trees to hide his silhouette and to make him virtually invisible.

Dusk settles over the bayou, and the black silhouettes of cypress trees stand knee-deep in the murky water, like a painting, set against the burnt orange and pink sky. Twinkling fireflies add enchanting animation to the surrounding stillness. The Spanish moss slung over branches, reaching down for the glassy surface below, is mirrored by its reflection, like looking at a parallel, upside down world. “As above, so below.” “What’s that?” “I don’t remember where I heard it. It just makes me think of the duality of things, sometimes. Good and evil. Black and white.” “Balance.

Winter can change a person...but mostly winter can let you see the silhouette of your body's branches - like a tree in February - when all the leaves are off, the green is gone, the adornment stripped away and, for the first time, you can appreciate all the knots, bends, broken limbs, and lightning strikes. You can see the beauty that has been created in harsh times.

They were at the top now, barking in that speculative, nervous manner that dogs adopt to reassure themselves when they encounter something unexpected in familiar territory. I reached the top of the hill with the sun full in my eyes, but I could make out the backlit silhouette of a figure in the trees, a nimbus of smoke around his head, the dogs inspecting him noisily from a safe distance. As I came up to him, he extended a cold, horny hand. “Bonjour.” He unscrewed a cigarette butt from the corner of his mouth and introduced himself. “Massot, Antoine.

There were bright stars overhead and an orange glow around the horizon. The silhouettes of hanging frond trees made the realization sink in. Ambrielle was back in the oasis, the oasis in the middle of endless dunes and rock. The lonely desert wilderness she hoped to never see again.

And I spent a wonderful summer, below the trees in the Godavari, writing my poetry.

Winter can change a person. It can show you the delicate structure of the world when everything is stripped clean. It can illuminate your soul when the world is cloaked in darkness. It can warm your heart when everything else is frozen. It can let you hear your own thoughts for the first time when the earth finally falls silent. But mostly winter can let you see the silhouette of your body’s branches—like a tree in February—when all the leaves are off, the green is gone, the adornment stripped away and, for the first time, you can appreciate all the knots, bends, broken limbs and lightning strikes. You can see the beauty that has been created in harsh times.

Why is it that the silhouette of a storm-bent leafless tree against an evening sky in winter is perceived as beautiful, but the corresponding silhouette of any multi-purpose university building is not, in spite of all efforts of the architect? The answer seems to me, even if somewhat speculative, to follow from the new insights into dynamical systems. Our feeling for beauty is inspired by the harmonious arrangement of order and disorder as it occurs in natural objects—in clouds, trees, mountain ranges, or snow crystals. The shapes of all these are dynamical processes jelled into physical forms, and particular combinations of order and disorder are typical for them.

Bald eagles wheeled above the Sound, their commanding silhouettes outlined by blue sky. Belted kingfishers, with their fluffy topknots, often left their perches in the trees along the beach to flutter their blue-and-white plumage past my bunker. They eyed me through the unglazed window with fearless curiosity. River otters scooched along the beach below me sometimes, and once in a while I saw an orca breach, carving an arc between sea and sky. Their sleek black-and-white beauty was no less majestic than that of the eagles, and I cheered softly when I caught sight of them.

Past the woodshed, past the creek that ran behind our inn, deep in the wild heart of the forest, was a circle of alder trees we called the Goblin Grove. The trees grew in such a way as to suggest twisted arms and monstrous limbs frozen in an eternal dance, and Constanze liked to tell us that the trees had once been humans- naughty young women- who displeased Der Erlkönig. As children we had played here, Josef and me, played and sang and danced, offering our music to the Lord of Mischief. The Goblin King was the silhouette around which my music was composed, and the Goblin Grove was the place my shadows came to life. I spied a scarlet shape in the woods ahead of me. Käthe in my cloak, walking to my sacred space. An irrational, petty slash of irritation cut through my dread and unease. The Goblin Grove was my haunt, my refuge, my sanctuary. Why must she take everything that was mine? My sister had a gift for turning the extraordinary into the ordinary. Unlike my brother and me- who lived in the ether of magic and music- Käthe lived in the world of the real, the tangible, the mundane. Unlike us, she never had faith.

Her jagged breathing gave her away. She stood, a dark silhouette pressed against the trunk of a cottonwood tree. She was cornered in the yard. No place to go. Sweet goddess, he traced across her mind. I've only come to seal our destiny. You shouldn't feel so afraid of me. And yet her fear was what he enjoyed. He savored it.

And then at last it happened—just after sunset on the third night, a dark spot flitted through the trees, so quick and small that I doubted my eyes, but then it came again, and dozens more with it. Thinking on it now, I am surprised I was not somewhat disappointed, for there was little to observe. In the dusk, especially to my inexperienced eyes, the bats could have been barn swallows or oversized moths. Yet for all that, it was marvelous—the nights of anticipation and then, in the sky above me, the fleeting silhouettes of their wings. That is the excitement. We catch only glimpses, a burst of movement, a flap of wings, yet it is life itself beating at shadow’s edge.

shadowy silhouettes between the even more shadowy silhouettes of the trees.

The vogue for geometrical architecture and painting came and went. Architects no longer care to build blockish skyscrapers like the Seagram Building in New York, once much hailed and copied. To Mandelbrot and his followers the reason is clear. Simple shapes are inhuman. They fail to resonate with the way nature organizes itself or with the way human perception sees the world. In the words of Gert Eilenberger, a German physicist who took up nonlinear science after specializing in superconductivity: “Why is it that the silhouette of a storm-bent leafless tree against an evening sky in winter is perceived as beautiful, but the corresponding silhouette of any multi-purpose university building is not, in spite of all efforts of the architect? The answer seems to me, even if somewhat speculative, to follow from the new insights into dynamical systems. Our feeling for beauty is inspired by the harmonious arrangement of order and disorder as it occurs in natural objects—in clouds, trees, mountain ranges, or snow crystals. The shapes of all these are dynamical processes jelled into physical forms, and particular combinations of order and disorder are typical for them.

What turned me on far more than the flickery silhouette of a bunting or a shrike was a general feeling of well-being: lofty tree-crowns blurred and waving in fresh gusts; the edge of a meadow darkened into mystery by a straggly blackthorn hedge; the intimacy of a single cornflower that no one else would ever notice; the scuffles of secret little beasts through dead leaves or grass, untainted by the absurdity of human institutions.

_I saw silhouette of moonlight in the backyard,_ _The tree swaying at you from distance,_ _The leaf slowly leaving the tree without mémoire to stay with,_ _Fading stars,_ _Cloudy night,_ _Unreachable sky,_

She remembered, as she watched herself, the aches in her shoulders and arms. The stiff heaviness of them, as if she'd been wearing armour. She remembered not understanding why, for all that effort, the silhouette of the sycamore trees stubbornly stayed the same size, just as the bank stayed exactly the same distance away. She remembered swallowing some of the dirty water. And looking around at the other bank, the bank from where she had come and the place where she was kind of now standing, watching, along with that younger version of her brother and his friends, beside her, oblivious to her present self, and to the bookshelves on either side of them. She remembered how, in her delirium, she had thought of the word 'equidistant'. A word that belonged in the clinical safety of a classroom. Equidistant. Such a neutral, mathematical kind of word, and one that became a stuck thought, repeating itself like a manic meditation as she used the last of her strength to stay almost exactly where she was. Equidistant. Equidistant. Equidistant. Not aligned to one bank or the other. That was how she had felt most of her life. Caught in the middle. Struggling, flailing, just trying to survive while not knowing which way to go. Which path to commit to without regret.

A movement. A dark silhouette who was there for a split second and then disappeared behind one of the tree trunks. They're not alone. There is someone in the forest. Someone who is keeping an eye on them.