Snow Status Quotes

An incomplete list: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take pictures of concert states. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one's hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position – but no, this wasn't true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

Most people simply aren’t unhappy enough with the known to trade it for the unknown

Children are like this; sculpting themselves from snow while we wait at the window, hoping it won't collapse.

You are hereby warned that any movement on your part not explicitly endorsed by verbal authorization on my part may pose a direct physical risk to you, as well as consequential psychological and possibly, depending on your personal belief system, spiritual risks ensuing from your personal reaction to said physical risk. Any movement on your part constitutes an implicit and irrevocable acceptance of such risk," the first MetaCop says. There is a little speaker on his belt, simultaneously translating all of this into Spanish and Japanese. "Or as we used to say," the other MetaCop says, "freeze, sucker!" "Under provisions of The Mews at Windsor Heights Code, we are authorized to enforce law, national security concerns, and societal harmony on said territory also. A treaty between The Mews at Windsor Heights and White Columns authorizes us to place you in temporary custody until your status as an Investigatory Focus has been resolved." "Your ass is busted," the second MetaCop says. "As your demeanor has been nonaggressive and you carry no visible weapons, we are not authorized to employ heroic measures to ensure your cooperation," the first MetaCop says. "You stay cool and we'll stay cool," the second MetaCop says. "However, we are equipped with devices, including but not limited to projectile weapons, which, if used, may pose an extreme and immediate threat to your health and well-being." "Make one funny move and we'll blow your head off," the second MetaCop says.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

In fiction, the story ends when Prince Charming whisks Cinderella away to his castle. But there’s a reason why the poor girl who wins herself a prince is usually an orphan. Because if she wasn’t… “Darling,” Charming would say in the scene after the end, “you know I love you, doll. But we have to talk about your parents. I’m thinking I should buy them a cottage, maybe something high up in the mountains, yeah? Don’t worry. You can always call. You can even visit them when I’m busy with my affairs of state.” Even with Cinderella’s essentially family-less status, the story always ends before the painful, embarrassing scenes that come a few years in. “Darling, I never meant to fall in love with Snow White. I swear it. But she was raised in a castle as a princess, you know? She gets me in a way you never will.

and here instead’s another version of what was happening that morning, as if from a novel in which sophia is the kind of character she’d choose to be, prefer to be, a character in a much more classic sort of story, perfectly honed and comforting, about how sombre yet bright the major-symphony of winter is and how beautiful everything looks under a high frost, how every grassblade is enhanced and silvered into individual beauty by it, how even the dull tarmac of the roads, the paving under our feet, shines when the weather’s been cold enough and how something at the heart of us, at the heart of all our cold and frozen states, melts when we encounter a time of peace on earth, goodwill to all men; a story in which there’s no room for severed heads; a work in which sophia’s perfectly honed minor-symphony modesty and narrative decorum complement the story she’s in with the right kind of quiet wisdom-from-experience ageing-female status, making it a story that’s thoughtful, dignified, conventional in structure thank god, the kind of quality literary fiction where the slow drift of snow across the landscape is merciful, has a perfect muffling decorum of its own, snow falling to whiten, soften, blur and prettify even further a landscape where there are no heads divided from bodies hanging around in the air or anywhere, either new ones, from new atrocities or murders or terrorisms, or old ones, left over from old historic atrocities and murders and terrorisms and bequeathed to the future as if in old french revolution baskets, their wickerwork brown with the old dried blood, placed on the doorsteps of the neat and central-heating-interactive houses of now with notes tied to the handles saying please look after this head thank you, well, no, thank you, thank you very much:

AN INCOMPLETE LIST: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take photographs of concert stages. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one’s hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position—but no, this wasn’t true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

She Is Remarkable Salute to the woman who knows who she is And why she is who she is A powerful being Once thrown into the deep end of the ocean But swam her way back to shore She never stops moving forward Nothing can ever pull her backwards Such a brave warrior Shout out to the superwoman Determined to change the status quo Because she feels the need to do so Just like an eagle She soars higher and higher As the wind blows stronger She does not let anything deter her From reaching another level in life Thumbs up to an amazing woman A great force to be reckoned with That committed Mother on the street Who trades from sunrise to sunset Trying to make ends meet Oh, she has a heart so big Being mindful that come snow or sunshine She has mouths to feed I revere this gifted woman Who uses her creativity To make an impact in society Despite the uniqueness of her talent She remains a trendsetter It could be the potter in whose hands clay becomes magic The miner who touches gold, before it even gets sold to the markets Or the strategist who sits in high-level meetings, making sure organisations do not collapse A special mention to the special woman Who chooses not to give up She understands that others look up to her The smart lady out there, with a clear vision She makes things happen for her family, community, and the world at large She deserves a badge of honour Because she is remarkable!

Fundamentals of Esperanto The grammatical rules of this language can be learned in one sitting. Nouns have no gender & end in -o; the plural terminates in -oj & the accusative, -on Amiko, friend; amikoj, friends; amikon & amikojn, accusative friend & friends. Ma amiko is my friend. A new book appears in Esperanto every week. Radio stations in Europe, the United States, China, Russia & Brazil broadcast in Esperanto, as does Vatican Radio. In 1959, UNESCO declared the International Federation of Esperanto Speakers to be in accord with its mission & granted this body consultative status. The youth branch of the International Federation of Esperanto Speakers, UTA, has offices in 80 different countries & organizes social events where young people curious about the movement may dance to recordings by Esperanto artists, enjoy complimentary soft drinks & take home Esperanto versions of major literary works including the Old Testament & A Midsummer Night’s Dream. William Shatner’s first feature-length vehicle was a horror film shot entirely in Esperanto. Esperanto is among the languages currently sailing into deep space on board the Voyager spacecraft. - Esperanto is an artificial language constructed in 1887 by L. L. Zamenhof, a polish oculist. following a somewhat difficult period in my life. It was twilight & snowing on the railway platform just outside Warsaw where I had missed my connection. A man in a crumpled track suit & dark glasses pushed a cart piled high with ripped & weathered volumes— sex manuals, detective stories, yellowing musical scores & outdated physics textbooks, old copies of Life, new smut, an atlas translated, a grammar, The Mirror, Soviet-bloc comics, a guide to the rivers & mountains, thesauri, inscrutable musical scores & mimeographed physics books, defective stories, obsolete sex manuals— one of which caught my notice (Dr. Esperanto since I had time, I traded my used Leaves of Grass for a copy. I’m afraid I will never be lonely enough. There’s a man from Quebec in my head, a friend to the purple martins. Purple martins are the Cadillac of swallows. All purple martins are dying or dead. Brainscans of grown purple martins suggest these creatures feel the same levels of doubt & bliss as an eight-year-old girl in captivity. While driving home from the brewery one night this man from Quebec heard a radio program about purple martins & the next day he set out to build them a house in his own back yard. I’ve never built anything, let alone a house, not to mention a home for somebody else. Never put in aluminum floors to smooth over the waiting. Never piped sugar water through colored tubes to each empty nest lined with newspaper shredded with strong, tired hands. Never dismantled the entire affair & put it back together again. Still no swallows. I never installed the big light that stays on through the night to keep owls away. Never installed lesser lights, never rested on Sunday with a beer on the deck surveying what I had done & what yet remained to be done, listening to Styx while the neighbor kids ran through my sprinklers. I have never collapsed in abandon. Never prayed. But enough about the purple martins. Every line of the work is a first & a last line & this is the spring of its action. Of course, there’s a journey & inside that journey, an implicit voyage through the underworld. There’s a bridge made of boats; a carp stuffed with flowers; a comic dispute among sweetmeat vendors; a digression on shadows; That’s how we finally learn who the hero was all along. Weary & old, he sits on a rock & watches his friends fly by one by one out of the song, then turns back to the journey they all began long ago, keeping the river to his right.

Threat is another word for change. Status quo ante is not preferable to all change. Consider the Iskari boy stopping the leaking dam with his finger—romantic image, but futile. If one is to play any other role, one must be open to drastic change. The world some large-scale changes would bring about may be preferable to the one we currently inhabit.

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The reader is to be pulled in by the preponderance of the evidence that he or she has been sifting through. As you read, the details fall like snow that suddenly is ash. The character is clearly visible once he is coated, like a status in the town square after such a storm, with a film of detail.

Every ideology is a mental murder, a reduction of dynamic living processes to static classifications, and every classification is a Damnation, just as every inclusion is an exclusion. In a busy, buzzing universe where no two snow flakes are identical, and no two trees are identical, and no two people are identical- and, indeed, the smallest sub-atomic particle, we are assured, is not even identical with itself from one microsecond to the next- every card-index system is a delusion. “Or, to put it more charitably,” as Nietzsche says, “we are all better artists than we realize.” It is easy to see that label “Jew” was a Damnation in Nazi Germany, but actually the label “Jew” is a Damnation anywhere, even where anti-Semitism does not exist. “He is a Jew,” “He is a doctor,” and “He is a poet” mean, to the card indexing centre of the cortex, that my experience with him will be like my experience with other Jews, other doctors, and other poets. Thus, individuality is ignored when identity is asserted. At a party or any place where strangers meet, watch this mechanism in action. Behind the friendly overtures there is wariness as each person fishes for the label that will identify and Damn the other. Finally, it is revealed: “Oh, he’s an advertising copywriter,” “Oh, he’s an engine-lathe operator.” Both parties relax, for now they know how to behave, what roles to play in the game. Ninety-nine percent of each has been Damned; the other is reacting to the 1 percent that has been labeled by the card-index machine.

The vultures came in shifts, sentinels to the requiem. The topmost ridges were first to welcome the daylight. A falcon swooped through the valley, scattering its benediction. I was mesmerized by the sentry duty of the carrion birds. They watched to see that all was well on earth: that death took its allotted share of animals and in return left provisions. Below, on the steep slopes that chamfered the gorge, the yaks grazed. Lying in the long grasses, cold, calm and watchful, Léo studied every crag through his binoculars. I was less conscientious. Patience has its limits, and I had come to the end of mine when we reached the canyon. I was busy assigning each animal a rung on the social ladder of the kingdom. The snow leopard was the regent; her status reinforced by her invisibility. She reigned, and therefore had no need to show herself. The prowling wolves were knavish princes; the yaks, richer burghers, warmly attired; the lynxes were musketeers; the foxes country squires; the blue sheep and the wild donkeys were the general populace. The raptors represented the priests, hieratic masters of the heavens and of death. These clerics in plumed livery were not against the idea that things might bode ill for us.

I remembered John as far from robust—before joining the school, his fragile legs had required medical support. He also faced learning difficulties, which this typically unevolved 1970s boarding school failed to address. His Maidwell years would have been challenging anyway; but they were made hellish by the likes of Goffie. John was a sensitive and thoroughly decent boy who was tormented by this shameless, cowardly bully, in a school regime that had a hundred rules, but not one of them proved capable of protecting the most vulnerable in its ranks. What on earth would persuade Goffie—a man, powerful in physique and status—to pick on someone so fragile and defenseless? As his younger brother recalled in the eulogy that he gave at John’s funeral: At Maidwell John had a tough time, principally because he had dyslexia which was not diagnosed for several years, until age ten. Some bullying teachers accused him of not trying, or of being lazy, neither of which was true. Looking back, John always noted Mr. Goffe as the worst offender, a mean teacher who regularly hit his knuckles with a wooden ruler. These constant knockdowns in turn affected John’s self-confidence, and he became very shy. But John was always sweet and kind with other boys, never passing on the knocks that were handed out to him. Aged eleven, John was moved to a school specializing in dyslexia. But three years at Maidwell, being bullied by the likes of Goffie, had changed him. The self-assurance that he’d had as a young boy, before being sent away, was bled out of him. After school he lived the quietest of lives. In adulthood he had no romantic partner or close friends, preferring to sit at home by himself, watching television. His family background was immensely privileged, but he took humble jobs—helping in a pet store, then a home supplies warehouse—surprising colleagues at the latter by walking to work on a day when the roads were so clogged with snow that none of them, or any of their customers, made it in. John died from an intestinal disorder that he had ignored: His family believes that he had lost the instinct for self-care, had failed to get himself to a doctor, and this killed him. He was found dead after failing to turn up for work. I had not appreciated that the weight of suffering experienced by many of my contemporaries would be so virulent, and so hard to bear. When I read John’s eulogy, I cried with pity, and then rage.

She Is Remarkable Salute to the woman who knows who she is And why she is who she is A powerful being Once thrown into a deep end of the ocean But swam her way back to shore She never stops moving forward Nothing can ever pull her backwards Such a hard nut to crack Shout out to the superwoman Determined to change the status quo Because she feels the need to do so Just like an eagle She soars higher and higher As the wind blows stronger She does not let anything deter her From reaching another level in life Thumbs up to an amazing woman A great force to be reckoned with That committed Mother on the street Who trades from sunrise to sunset Trying to make ends meet Oh, she has a heart so big! Being mindful that come snow or sunshine She has mouths to feed I revere this gifted woman Who uses her creativity To make an impact in society Despite the uniqueness of her talent She remains a trendsetter It could be the potter in whose hands clay becomes magic The miner who touches gold, before it even gets sold to the markets Or the strategist who sits in high level meetings, making sure organisations do not collapse A special mention to the special woman Who chooses not to give up She understands that others look up to her The smart lady out there, with a clear vision She makes things happen for her family, community and the world at large She deserves a badge of honour Because she is remarkable!

you, Becky." Inside the wrapping paper was a beautiful doll with long, wavy, auburn hair. It was the most beautiful doll Becky had ever seen. "What's her name?" she had asked, her eyes unable to leave the doll's beautiful face. Twenty-four years later. BECKY JENSEN'S FACEBOOK STATUS: In life, it is said that everything happens for a reason. So I ask you this, Cancer, what is your reason? Fresh tears blurred Becky Jensen's vision as she gripped the steering wheel of her Mazda and stared straight ahead through the streaky windscreen. The wind and snow swirled outside, blurring the oncoming traffic. The roads were busy; people had left

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On the way back down we paused beside a tree so old and beloved it has been given a name: Jijisugi, the Grandpa Cedar. A twisted length of rope known as a shimenawa was tied around its mighty thousand-year-old trunk to indicate its sacred status. I got shivers as I thought of how, back in the seventeenth century, one of my favorite haiku poets, Matsuo Bashō, passed this very same tree on his own long, hard passage through these mountains, pausing nearby to pen a poem about a moment so still, he could smell the snow.3​➔​ It is said that Bashō’s experience at Dewa Sanzan led him to the epiphany of fueki-ryūkō, the principle of balancing immutability and fluidity that would characterize haiku from that day on.4​➔​ This tension of the constant and the changing is one I grapple with daily. I feel the paradox of continuity as a human being (that I have been me in this body since I was born) and the knowledge that I am not the same person from day to day, moment to moment. I am certainly not the same person I was when I first climbed Hagurosan, half a lifetime ago.

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