Snowy Woods Quotes

These woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Stopping by Woods on a Snowy Evening Whose woods these are I think I know. His house is in the village, though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake. The woods are lovely, dark, and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

The strangest of our powers Is the courage to live Knowing that we will die, Knowing nothing more true. - In the Snowy Night Woods

I love the Autumn, And yet I cannot say All the thoughts and things That make me feel this way. I love walking on the angry shore, To watch the angry sea; Where summer people were before, But now there's only me. I love wood fires at night That have a ruddy glow. I stare at the flames And think of long ago. I love the feeling down inside me That says to run away To come and be a gypsy And laugh the gypsy way. The tangy taste of apples, The snowy mist at morn, The wanderlust inside you When you hear the huntsman's horn. Nostalgia - that's the Autumn, Dreaming through September Just a million lovely things I always will remember.

For I have promises to keep; and miles to go before I sleep.

Don't you like a rather foggy day in a wood in autumn? You'll find we shall be perfectly warm sitting in the car." Jane said she'd never heard of anyone liking fogs before but she didn't mind trying. All three got in. "That's why Camilla and I got married, "said Denniston as they drove off. "We both like Weather. Not this or that kind of weather, but just Weather. It's a useful taste if one lives in England." "How ever did you learn to do that, Mr. Denniston?" said Jane. "I don't think I should ever learn to like rain and snow." "It's the other way round," said Denniston. "Everyone begins as a child by liking Weather. You learn the art of disliking it as you grow up. Noticed it on a snowy day? The grown-ups are all going about with long faces, but look at the children - and the dogs? They know what snow's made for." "I'm sure I hated wet days as a child," said Jane. "That's because the grown-ups kept you in," said Camilla. "Any child loves rain if it's allowed to go out and paddle about in it.

The beeches deep in snow, I walk the dark woods In sorrow, sorrow. Your hand, where is your hand? - In the Snowy Night Woods

Right,' said Don Allman. 'And I'm Robert Frost, stopping by the woods on a snowy fucking evening.

But it has occurred to me, on occasion, that our memories of our loved ones might not be the point. Maybe the point is their memories—all that they take away with them. What if heaven is just a vast consciousness that the dead return to? And their assignment is to report on the experiences they collected during their time on earth. The hardware store their father owned with the cat asleep on the grass seed, and the friend they used to laugh with till the tears streamed down their cheeks, and the Saturdays when their grandchildren sat next to them gluing Popsicle sticks. The spring mornings they woke up to a million birds singing their hearts out, and the summer afternoons with the swim towels hung over the porch rail, and the October air that smelled like wood smoke and apple cider, and the warm yellow windows of home when they came in on a snowy night. ‘That’s what my experience has been,’ they say, and it gets folded in with the others—one more report on what living felt like. What it was like to be alive.

It was enough to make me feel like retreating into some wooded or snowy clime, where only the most determined photographers or Mary-hunters might find me.

Places I love come back to me like music, Hush me and heal me when I am very tired; I see the oak woods at Saxton's flaming In a flare of crimson by the frost newly fired; And I am thirsty for the spring in the valley As for a kiss ungiven and long desired. I know a bright world of snowy hills at Boonton, A blue and white dazzling light on everything one sees, The ice-covered branches of the hemlocks sparkle Bending low and tinkling in the sharp thin breeze, And iridescent crystals fall and crackle on the snow-crust With the winer sun drawing cold blue shadows from the trees. Violet now, in veil on veil of evening, The hills across from Cromwell grow dreamy and far; A wood-thrush is singing soft as a viol In the heart of the hollow where the dark pools are; The primrose has opened her pale yellow flowers And heaven is lighting star after star. Places I love come back to me like music– Mid-ocean, midnight, the eaves buzz drowsily; In the ship's deep churning the eerie phosphorescence Is like the souls of people who were drowned at sea, And I can hear a man's voice, speaking, hushed , insistent, At midnight, in mid-ocean, hour on hour to me.

..but I have promises to keep and miles to go before I sleep.

How could it be winter without snow?I appreciated every season, but winter was my favorite.I loved when it was time to pull out my thick sweaters.I loved the smell of a wood fire.I loved skiing and snow boarding and sledding, when i could find the time-although time was in a short supply when school was in session.I even enjoyed the cold, wintry weather, it was great for snuggling.

The top eleven are, in order, T. S. Eliot’s “Prufrock,” Robert Lowell’s “Skunk Hour,” Robert Frost’s “Stopping by Woods on a Snowy Evening,” William Carlos Williams’s “Red Wheelbarrow,” Elizabeth Bishop’s “The Fish,” Ezra Pound’s “The River Merchant’s Wife,” Sylvia Plath’s “Daddy,” Pound’s “In a Station of the Metro,” Frost’s “Mending Wall,” Wallace Stevens’s “The Snow Man,” and Williams’s “The Dance.

the woods are lovely, dark, and deep. but i have promises to keep, and miles to go before i sleep.

-i was "far and away"-riding my motorcycle along an american back road, skiing through the snowy Quebec woods, or lying awake in a backwater motel. the theme i was grappling with was nothing less than the Meaning of Life, and i was pretty sure i had defined it: love and respect. love and respect, love and respect-i have been carrying those words around with me for two years, daring to consider that perhaps they convey the real meaning of life. beyond basic survival needs, everybody wants to be loved and respected. and neither is any good without the other. love without respect can be as cold as pity; respect without love can be as grim as fear. love and respect are the values in life that most contribute to "the pursuit of happiness"-and after, they are the greatest legacy we can leave behind. it's an elegy you'd like to hear with your own ears: "you were loved and respected." if even one person can say that about you, it's a worthy achievement, and if you can multiply that many times-well, that is true success. among materialists, a certain bumper sticker is emblematic: "he who dies with the most toys wins!" well, no-he or she who dies with the most love and respect wins... then there's love and respect for oneself-equally hard to achieve and maintain. most of us, deep down, are not as proud of ourselves as we might pretend, and the goal of bettering ourselves-at least partly by earning the love and respect of others-is a lifelong struggle. Philo of Alexandria gave us that generous principle that we have somehow succeeded in mostly ignoring for 2,000 years: "Be kind, for everyone you meet is fighting a hard battle.

Every tree wore a thick cloak of white, every stump and boulder a jaunty snowy cap, and there was that perfect, immense stillness that you get nowhere else but in a big woods after a heavy snowfall.

His task was to survive and endure through the harsh winter months, winnowing his soul until it could cross to the spirit world. There, he would undertake the search for his guide, a god embodied in some kind of beast or bird, who would protect him throughout his life. His spirit guide would enlighten his mind and guide his steps in myriad ways, until the end of his life. In those cold woods, he would learn his destiny. He said that if the spirit guide came to him in the form of a snake, then he would gain his heart’s desire, and become pawaaw. “I thought of the quarantine of Jesus, a similar harsh and lonely trial of character and purpose. But that vigil passed in searing desert, not snowy wood. And when, at the end, the devil came with his visions of cities and offers of power, Jesus shunned him. Caleb desired to bid him welcome.

Ma said that Jack Frost came in the night and made the pictures, while everyone was asleep. Laura thought that Jack Frost was a little man all snowy white, wearing a glittering white pointed cap and soft white knee-boots made of deer-skin. His coat was white and his mittens were white, and he did not carry a gun on his back, but in his hands he had shining sharp tools with which he carved the pictures. Laura and Mary were allowed to take Ma’s thimble and make pretty patterns of circles in the frost on the glass. But they never spoiled the pictures that Jack Frost had made in the night.

Sometimes in winter there comes a spell of snowstorms and sunshine and terrific contentment. On snowy afternoons there is a special blessedness in saying, oh it is too snowy to chop wood this afternoon. And the gray snow sifts down, and one takes off one's boots and sits by the fire and is glad of the way wool socks smell; and a pie is baking in the oven, and the gray snow is sifting down.

At the end of the piece, Reverend Alban rose and approached the lectern again. He placed his fingertips together. “I didn’t know Mrs. Whitshank,” he said, “and therefore I don’t have the memories that the rest of you have. But it has occurred to me, on occasion, that our memories of our loved ones might not be the point. Maybe the point is their memories—all that they take away with them. What if heaven is just a vast consciousness that the dead return to? And their assignment is to report on the experiences they collected during their time on earth. The hardware store their father owned with the cat asleep on the grass seed, and the friend they used to laugh with till the tears streamed down their cheeks, and the Saturdays when their grandchildren sat next to them gluing Popsicle sticks. The spring mornings they woke up to a million birds singing their hearts out, and the summer afternoons with the swim towels hung over the porch rail, and the October air that smelled like wood smoke and apple cider, and the warm yellow windows of home when they came in on a snowy night. ‘That’s what my experience has been,’ they say, and it gets folded in with the others—one more report on what living felt like. What it was like to be alive.

Before us lay a green sloping land full of forests and woods, with here and there steep hills, crowned with clumps of trees or with farmhouses, the blank gable end to the road. There was everywhere a bewildering mass of fruit blossom- apple, plum, pear, cherry; and as we drove by I could see the green grass under the trees spangled with the fallen petals. In and out amongst these green hills of what they call here the 'Mittel Land' ran the road, losing itself as it swept round the grassy curve, or was shut out by the straggling ends of pine woods, which here and there ran down the hillside like tongues of flame. The road was rugged, but still we seemed to fly over it with a feverish haste. I could not understand then what the haste meant, but the driver was evidently bent on losing no time in reaching Borgo Prund. I was told that this road is in summertime excellent, but that it had not been put in order after the winter snows. In this respect it is different from the general run of roads in the Carpathians, for it is an old tradition that they are not to be kept in too good order. Of old the Hospadors would not repair them, lest the Turks should think that they were preparing to bring in foreign troops, and so hasten the war which was always really at loading point. Beyond the green swelling hills of the Mittel Land rose mighty slopes of forest up to the lofty steeps of the Carpathians themselves. Right and left of us they towered, with the afternoon sun falling full upon them and bringing out all the glorious colors of this beautiful range, deep blue and purple in the shadows of the peaks, green and brown where grass and rock mingled, and an endless perspective of jagged rock and pointed crags, till these were themselves lost in the distance, where the snowy peaks rose grandly. Here and there seemed mighty rifts in the mountains, through which, as the sun began to sink, we saw now and again the white gleam of falling water.

But if there was a pleasure in all this while snugly cuddling in the chimney-corner of a chamber that was all of a ruddy glow from the crackling wood-fire, and where, of course, no spectre dared to show its face, it was dearly purchased by the terrors of his subsequent walk homewards. What fearful shapes and shadows beset his path amidst the dim and ghastly glare of a snowy night! With what wistful look did be eye every trembling ray of light streaming across the waste fields from some distant window!

I really doubt my parents are going to let me stay the night in a remote cabin with a bunch of boys.” “Oh, please, Snow White, Mike’s dad’ll be there. He’s actually kinda funny…you know, in a weird dad kind of way. Don’t worry, your purity will remain intact. Scout’s honor.” She made some sort of gesture with her fingers that Violet assumed was supposed to be an oath, but since Chelsea had never actually been a Girl Scout, it ended up looking more like a peace sign. Or something. Violet maintained her dubious expression. But Chelsea wasn’t about to be discouraged, and she tried to be the voice of reason. “Come on, I think Jay’s checking to see if he can get the time off work. The least you can do is ask your parents. If they say no, then no harm, no foul, right? If they say yes, then we’ll have a kick-ass time. We’ll go hiking in the snow and hang out in front of the fireplace in the evening. We’ll sleep in sleeping bags and maybe even roast some marshmallows. It’ll be like we’re camping.” She beamed a superfake smile at Violet and clasped her hands together like she was begging. “Do it for me. Ple-eease.” Jules came back with their milk shake. It was strawberry, and Chelsea flashed Violet an I-told-you-so grin. Violet finished her tea, mulling over the idea of spending the weekend in a snowy cabin with Jay and Chelsea. Away from town. Away from whoever was leaving her dead animals and creepy notes. It did sound fun, and Violet did love the snow. And the woods. And Jay. She could at least ask. Like Chelsea said, No harm, no foul.

What if heaven is just a vast consciousness that the dead return to? And their assignment is to report on the experiences they collected during their time on earth?...The spring mornings they woke up to a million birds singing their hearts out, and the summer afternoons with the swim towels hung over the porch rail, and the October air that smelled like wood smoke and apple cider, and the warm yellow windows of home when they came in on a snowy night. "That's what my experience has been,' they say, and it gets folded in with the others--one more report on what living felt like. What it was like to be alive.

Lucy Gray Oft I had heard of Lucy Gray, And when I cross'd the Wild, I chanc'd to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wild Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. "To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow." "That, Father! will I gladly do; 'Tis scarcely afternoon— The Minster-clock has just struck two, And yonder is the Moon." At this the Father rais'd his hook And snapp'd a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse, the powd'ry snow That rises up like smoke. The storm came on before its time, She wander'd up and down, And many a hill did Lucy climb But never reach'd the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlook'd the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turn'd, and cry'd "In Heaven we all shall meet!" When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They track'd the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they cross'd, The marks were still the same; They track'd them on, nor ever lost, And to the Bridge they came. They follow'd from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

Oft had I heard of Lucy Gray, And when I crossed the Wild, I chanced to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wide Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. 'To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow.' 'That, Father! will I gladly do; 'Tis scarcely afternoon -- The Minster-clock has just struck two, And yonder is the Moon.' At this the Father raised his hook And snapped a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse the powd'ry snow That rises up like smoke. The storm came on before its time, She wandered up and down, And many a hill did Lucy climb But never reached the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlooked the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turned, and cried 'In Heaven we all shall meet!' When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They tracked the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they crossed, The marks were still the same; They tracked them on, nor ever lost, And to the Bridge they came. They followed from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

As well,” he continued, “don’t you like a rather foggy day in a wood in autumn? You’ll find we shall be perfectly warm sitting in the car.” Jane said she’d never heard of anyone liking fogs before but she didn’t mind trying. All three got in. “That’s why Camilla and I got married,” said Denniston as they drove off. “We both like Weather. Not this or that kind of weather, but just Weather. It’s a useful taste if one lives in England.” “How ever did you learn to do that, Mr. Denniston?” said Jane. “I don’t think I should ever learn to like rain and snow.” “It’s the other way round,” said Denniston. “Everyone begins as a child by liking Weather. You learn the art of disliking it as you grow up. Haven’t you ever noticed it on a snowy day? The grown-ups are all going about with long faces, but look at the children—and the dogs? They know what snow’s made for.” “I’m sure I hated wet days as a child,” said Jane. “That’s because the grown-ups kept you in,” said Camilla. “Any child loves rain if it’s allowed to go out and paddle about in it.

Fragment of the Elegy on the Death of Adonis Prom the Greek of Bion Published by Forman, "Poetical Works of P. B. S.", 1876. I mourn Adonis dead—loveliest Adonis— Dead, dead Adonis—and the Loves lament. Sleep no more, Venus, wrapped in purple woof— Wake violet-stoled queen, and weave the crown Of Death,—'tis Misery calls,—for he is dead. The lovely one lies wounded in the mountains, His white thigh struck with the white tooth; he scarce Yet breathes; and Venus hangs in agony there. The dark blood wanders o'er his snowy limbs, His eyes beneath their lids are lustreless, The rose has fled from his wan lips, and there That kiss is dead, which Venus gathers yet. A deep, deep wound Adonis... A deeper Venus bears upon her heart. See, his beloved dogs are gathering round— The Oread nymphs are weeping—Aphrodite With hair unbound is wandering through the woods, 'Wildered, ungirt, unsandalled—the thorns pierce Her hastening feet and drink her sacred blood. Bitterly screaming out, she is driven on Through the long vales; and her Assyrian boy, Her love, her husband, calls—the purple blood From his struck thigh stains her white navel now, Her bosom, and her neck before like snow. Alas for Cytherea—the Loves mourn— The lovely, the beloved is gone!—and now Her sacred beauty vanishes away. For Venus whilst Adonis lived was fair— Alas! her loveliness is dead with him. The oaks and mountains cry, Ai! ai! Adonis! The springs their waters change to tears and weep— The flowers are withered up with grief... Ai! ai! ... Adonis is dead Echo resounds ... Adonis dead. Who will weep not thy dreadful woe. O Venus? Soon as she saw and knew the mortal wound Of her Adonis—saw the life-blood flow From his fair thigh, now wasting,—wailing loud She clasped him, and cried ... 'Stay, Adonis! Stay, dearest one,... and mix my lips with thine— Wake yet a while, Adonis—oh, but once, That I may kiss thee now for the last time— But for as long as one short kiss may live— Oh, let thy breath flow from thy dying soul Even to my mouth and heart, that I may suck That...' NOTE: _23 his Rossetti, Dowden, Woodberry; her Boscombe manuscript, Forman

After my return to Paris, one thing seemed obvious: To see Manhattan again, to feel as good about New York as Liza Minnelli sounded singing about it at Giants Stadium in 1986 (Google it), I had to start treating it as if it were a foreign city; to bring a reporter's eye and habits, care, and attention to daily life. But as that was the sort of vague self-directive easily ignored, I gave myself a specific assignment: Once a week, during routine errands, I would try something new or go someplace I hadn't been in a long while. It could be as quick as a walk past the supposedly haunted brownstone at 14 West 10th Street, where former resident Mark Twain is said to be among the ghosts. It could a stroll on the High Line, the elevated park with birch trees and long grasses growing where freight trains used to roll. Or it could be a snowy evening visit to the New York Public Library's Beaux-Arts flagship on Fifth Avenue, where Pamuk wrote the first sentence of The Museum of Innocence. There I wandered past white marble walls and candelabras, under chandeliers and ornate ceiling murals, through the room with more than ten thousand maps of my city, eventually taking a seat at a communal wood table to read a translation of Petrarch's Life of Solitude, to rare to be lent out. Tourist Tuesdays I called these outings, to no one but myself.

We then reached a fork in the valley. Should we go left or right? Dad called it left. I had a very powerful intuition that right was the choice we should make. Dad insisted left. I insisted right. It was a fifty-fifty call and he relented. Within two hundred yards we stumbled across a snowy track through the woods and followed it excitedly. Within a mile it came out on a mountain road, and within ten minutes we had flagged down a lift from a car heading up the hill in the darkness. We had found salvation, and I was beat. The car dropped us off at the gates of the garrison thirty minutes later. It was, by then, late into the night, but I was suddenly buzzing with energy and excitement. The fatigue had gone. Dad knew that I had made the right call up there--if we had chosen left we would still be trudging into the unknown. I felt so proud. In truth it was probably luck, but I learned another valuable lesson that night: Listen to the quiet voice inside. Intuition is the noise of the mind. As we tromped back through the barracks, though, we noticed there was an unusual amount of activity for the early hours of a weekday morning. It soon became very clear why. First a sergeant appeared, followed by another soldier, and then we were ushered into the senior officers’ block. There was my uncle, standing in uniform looking both tired and serious. I started to break out into a big smile. So did Dad. Well, I was excited. We had cheated a slow, lingering hypothermic death, lost together in the mountains. We were alive. Our enthusiasm was countered by the immortal words from my uncle, the brigadier, saying: “I wouldn’t smile if I was you…” He continued, “The entire army mountain rescue team is currently out scouring the mountains for you, on foot and in the air with the search-and-rescue helicopter. I hope you have a good explanation.” We didn’t, of course, save that we had been careless, and we had got lucky; but that’s life sometimes. And the phrase: “I wouldn’t smile if I was you,” has gone down into Grylls family folklore.

Elizabeth’s breakfast had cured Ian’s hunger, in fact, the idea of ever eating again made his stomach churn as he started for the barn to check on Mayhem’s injury. He was partway there when he saw her off to the left, sitting on the hillside amid the bluebells, her arms wrapped around her knees, her forehead resting atop them. Even with her hair shining like newly minted gold in the sun, she looked like a picture of heartbreaking dejection. He started to turn away and leave her to moody privacy; then, with a sigh of irritation, he changed his mind and started down the hill toward her. A few yards away he realized her shoulders were shaking with sobs, and he frowned in surprise. Obviously there was no point in pretending the meal had been good, so he injected a note of amusement into his voice and said, “I applaud your ingenuity-shooting me yesterday would have been too quick.” Elizabeth started violently at the sound of his voice. Snapping her head up, she stared off to the left, keeping her tear-streaked face averted from him. “Did you want something?” “Dessert?” Ian suggested wryly, leaning slightly forward, trying to see her face. He thought he saw a morose smile touch her lips, and he added, “I thought we could whip up a batch of cream and put it on the biscuit. Afterward we can take whatever is left, mix it with the leftover eggs, and use it to patch the roof.” A teary chuckle escaped her, and she drew a shaky breath but still refused to look at him as she said, “I’m surprised you’re being so pleasant about it.” “There’s no sense crying over burnt bacon.” “I wasn’t crying over that,” she said, feeling sheepish and bewildered. A snowy handkerchief appeared before her face, and Elizabeth accepted it, dabbing at her wet cheeks. “Then why were you crying?” She gazed straight ahead, her eyes focused on the surrounding hills splashed with bluebells and hawthorn, the handkerchief clenched in her hand. “I was crying for my own ineptitude, and for my inability to control my life,” she admitted. The word “ineptitude” startled Ian, and it occurred to him that for the shallow little flirt he supposed her to be she had an exceptionally fine vocabulary. She glanced up at him then, and Ian found himself gazing into a pair of green eyes the amazing color of wet leaves. With tears still sparkling on her long russet lashes, her long hair tied back in a girlish bow, her full breasts thrusting against the bodice of her gown, she was a picture of alluring innocence and intoxicating sensuality. Ian jerked his gaze from her breasts and said abruptly, “I’m going to cut some wood so we’ll have it for a fire tonight. Afterward I’m going to do some fishing for our supper. I trust you’ll find a way to amuse yourself in the meantime.” Startled by his sudden brusqueness, Elizabeth nodded and stood up, dimly aware that he did not offer his hand to assist her.

We hear them often in the night. Their wild yelping makes the hair on my neck rise, even as I am always compelled to go to the nearest window and fling it open to listen, despite the cold. You can hear them moving: nearer, nearer up the frozen creek bed, until they are just beyond the edge of the porch light, the moon a grinning wedge above the trees. And then they’re gone, racing up the valley into the dark. I can feel how they’re close now, beyond the meadow’s edge, somewhere in the woods there, maybe asleep or watching us with yellow eyes, alerted by our footsteps and the sharp, ringing singsong of my son’s eager voice. This is always the case: The line between us and the wild is slender, like the bit of thread I find coiled in my pocket. My fingers tease it, wanting to know how it’s wound. This is always the way. I always want to know. The thread is yellow and snarled and comes from the windowsill of the bedroom above the garage. I stuck it in my pocket this morning while tidying, meaning to throw it away. It was from tha same window that I saw the foxes last week. The ruckus of the chickens alerted me, and when I looked down, one was right below me in the snowy driveway, looking up. I pounded my fist on the glass and began to yell, but it didn’t run. Instead it just stared at me, not moving a muscle until I ran down and out into the snow without a hat or gloves or jacket, boots unlaced, shrieking like a madwoman. Of course it ran then, though not far at first—just to the top of the nearest field—and when I followed after, another joined it. They’d staked the chicken house out for sure. And even though they were a threat to our unwitting hens, I was sad when they disappeared among the white trunks of a stand of birches, and I can still feel the way my heart was hammering hard and raw in my chest after running through the snow, hair flyaway, clapping my hands. Their fur was rust-colored, and when they ran

Imogen creaks open the door. She steps from the stifling heat through the doorway, a tentative foot onto the ice-clumped doormat. At once her senses are overcome by the wonder of the outside world. The movement of the bracing air, its scent of pine and wood smoke from the chimney; the luminosity of the snowy surface, the light glinting from every crystal of every snowflake. What sublime richness to everything.

Yes, Oscar Isaac’s Poe Dameron is flying his X-wing in formation with the rest of his squad, but life in those cockpits can be solitary. These new ships don’t even appear to include the R2-D2-style astromech robots the previous models used as co-pilots. Even BB-8, the adorable ball droid, is rolling across the desert on its own. Then there is Kylo Ren, the mysterious cloaked figure staggering through the woods on a snowy evening before igniting his fiery three-pronged lightsaber. Clearly a villain and identified in the trailer as standing for “the dark side” in this new awakening, he is possibly the shadow version of Luke

Tonight at sunset walking on the snowy road, my shoes crunching on the frozen gravel, first through the woods, then out into the open fields past a couple of trailers and some pickup trucks, I stop and look at the sky. Suddenly: orange, red, pink, blue, green, purple, yellow, gray, all at once and everywhere. I pause in this moment at the beginning of my old age and I say a prayer of gratitude for getting to this evening a prayer for being here, today, now, alive in this life, in this evening, under this sky. "Winter: Tonight: Sunset

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.

So, here they were, face to face with the Son of God! When they had first seen him in the throne room, he had been nearly indistinguishable from the Father. In a manner that defied explanation and description, both he and the entity who had leaned upon the back of the Father’s throne had been one with God himself. Now, outside the throne room, the Son was clearly his own person, yet his majesty and the wonder he evoked were not diminished. He was unsurpassably beautiful. Tall and graceful, he sat upon his fabulous steed with a dignity that emanated pure power. His snow white hair hung to his saddle-back in thick waves, two intricate braids caught back at the temples to form a tiara entwined with gold. Despite his snowy hair, his face, while containing all the eons of heaven, seemed ageless, eternally youthful. His clothing, while utterly elegant, was simple and straightforward. A gown of blazing white was topped by a sleeveless coat of sky blue, and draping all was a cloak of deep, dark scarlet, its ample hood spread out across his shoulders. Everything was trimmed with gold and silver braid, gleaming gems of many colors peeking here and there from the folds. His horse’s tack was fabulous, all of embossed gold and cushioned wood, carved with dazzling intricacy. But, they had only a moment to take all of this in, before the prince saluted them with an outstretched arm. “Good day, friends,” he hailed them. “We meet again.” Gabriel’s heart lurched. He would have returned the salutation, but his voice failed him. Supporting one another, the four archangels were determined not to fall down. But, it was no use. They simply had no strength to stay upright. Besides, they were overcome with the desire to worship this mighty prince. Slumping to the ground, even the most self-assured of them, Lucifer, was brought to his knees. Again, the seraph flew over them, this time raising them to their feet without laying a hand on them. A swift flick of his fingers, and they were upright, once again. By the time they had regained their composure, the prince had dismounted and was walking toward one root of the mammoth tree. “Follow me,” he said, waving them forward. “It is time for us to have a talk.” Michael was the first to comply. Gabriel followed, with Raphael and Uriel close behind, all of them tingling from head to toe.

There is a phenomenon known as “paradoxical undressing” that affects those dying of hypothermia. Freezing to death, people tear off their clothing as they’re overcome by imaginary heat. Lost in blizzards , on snowy mountains, in frozen forests, their bodies become convinced that they’re burning, not freezing. Honestly, I’m so shy that I find most contact with people deeply unsettling, but songs - the alive kind in the air, injected with evil from the Doghouse - mean that I’m burning with sound, not frozen with fear. ’Cause they’re my way down to where we all are. I didn’t ask ask to go down to where we all are, but as it turns out, I’m a member of a deeply social species in which the only truths worth speaking are the most naked. In other words, I had planned on wearing all my clothes into these freezing woods - songs ask me to wear none. But way beyond stripping off clothes, the musical kind of paradoxical undressing strips you down to your bones. And as it turns out, we all have pretty fucking similar bones. Who knew?

It was a prolonged, mournful howl, into which Cyril put all the sorrow of the canine condition: a howl that seemed to express deep nostalgia for the woods, for the snowy wastes of his lupine ancestors’ ancient homelands, for all the sense of loss and separation that a dog feels when his master, his reason for living, his sun, is no longer there.

Though the Russians technically won, the world watched as the Red Army suffered losses in the snowy woods at the hands of a few proud Finns on skis, their artillery pulled by reindeer.

Mystical Sled Ride Knik to Willow, the race is on, across the Tundra, miles from home, Girl in Red flies through the snow, shimmering dreams of ice-rainbows. Sinuous bodies seem to fly like a wolf-pack going by! How they thunder as they run steaming fur, in icy sun. Knik to Willow, the race is on, across the Tundra, miles from home, Girl in Red, how swift she speeds, climbing mountains for the lead! Snowy lakes, and frozen streams, over land of Inuit dreams, slippery trails on icy ground, pelting paws thunder their sound! Knik to Willow, the race is on, across the Tundra, miles from home, sunburst, golden, brief respite in winter woods, as day meets night. Hear the music floating by, Girl in Red soars to the sky! Bodies, legs and lightest paws, across the line to great applause! Knik to Willow, now darkness falls, see the mushers fight for all! Persistence, courage, strength and care, mushers see it through, and dare! Running fast, but running late, the world it watches, still awake. The brightest lantern is their guide, stars gaze down – no longer hide. Knik to Willow, the race was on, and now the sled dogs all are home; meat is plenty for them all, winners, losers, victors all. When Northern Lights dance in the snow, Girl in Red, just hear them go! Howls pierce the air, like darts - so fast they run, their beating hearts.

NOTE: The character of Aoleon is deaf. This conversation takes place in the book via sign language... “Feeling a certain kind of way Aoleon?” She snapped-to and quickly became defensive. “What in the name of the Goddess are you on about?” Shades of anger and annoyance. The old Aoleon coming out. “I’m sorry. I shouldn’t poke at you like that. It’s okay you know. There’s nothing wrong about the way you feel.” As if suddenly caught up in a lie, Aoleon cleared her throat and ran her fingers absentmindedly over her ear and started to fidget with one of the brass accents in her snowy hair. A very common nervous reaction. “No…I mean…well I was…uh...” “Aoleon, I know about you and Arjana.” he admitted outrightly as he pointed at the drawing. She coughed, stuttered, smiled, but could bring herself to fully say nothing. Words escaped her as she looked about the room for answers. “My sight is Dįvįnë, lest we forget. I knew you were growing close.” “Yes. Well…she’s…something else.” “Indeed?” he responded. Images flashed briefly in Aoleon’s head of her father’s old friend. Verging on her fiftieth decade of life. She was a fierce woman by all accounts. One who’d just as soon cut you with words as she would a blade. Yet, she was darling and caring towards those she held close to her. Lovely to a fault; in a wild sort of way. Dark skin, the colour of walnut stained wood. Thick, kinky hair fashioned into black locs that faded into reddish-brown tips that were dyed with Assamian henna; the sides of her head shaved bare in an undercut fashion. Tattoos and gauged ears. Very comfortable with her sexuality. Dwalli by blood, but a native of the Link by birth although she wasn’t a Magi. Magick was her mother’s gift. “I heard her say something very much the same about you once Aoleon.” “Really?” Aoleon perked up right away. “Did she?” “Yes. After she first met you in fact. Nearly exactly.” Aoleon’s smile widened and she beamed happiness. She sat up assertively and gave a curt nod. “Well, of course she did.” “She’s held such a torch for you for so long that I was starting to wonder if anything would actually come of it.” “Yeah. Both you and Prince Asshole.” Aoleon exclaimed with a certainty that was absolute as she once again tightened up with defensiveness. Samahdemn walked his statement back. “Peace daughter. I didn't know your brother had been giving you a row about her. Then again, he is your brother. So anything is possible.” Aoleon sighed and nodded. “Not so much problems as he’s been giving me the silent treatment over it. Na’Kwanza. It’s always Na’ Kwanza.” Samahdemn nodded knowingly and waived a dismissive hand. “He’s just jealous. He always has been.” “So I’ve noticed.” “Why would you hide it? Why not tell me?” “I don’t know.” she said; shrugging her shoulders. “I didn’t know how you’d take it I suppose.” “Seriously? You were afraid of rejection? From me? Love, have I ever held your individuality against you? Have I ever not supported you or your siblings?” She shook her head; a bit embarrassed that she hadn't trusted him. "No, I suppose not." -Reflections on the Dįvonësë War: The Dįvįnë Will Bear Witness to Fate

The second main argument to support the idea that simple living enhances our capacity for pleasure is that it encourages us to attend to and appreciate the inexhaustible wealth of interesting, beautiful, marvelous, and thought-provoking phenomena continually presented to us by the everyday world that is close at hand. As Emerson says: “Things near are not less beautiful and wondrous than things remote. . . . This perception of the worth of the vulgar is fruitful in discoveries.”47 Here, as elsewhere, Emerson elegantly articulates the theory, but it is his friend Thoreau who really puts it into practice. Walden is, among other things, a celebration of the unexotic and a demonstration that the overlooked wonders of the commonplace can be a source of profound pleasure readily available to all. This idea is hardly unique to Emerson and Thoreau, of course, and, like most of the ideas we are considering, it goes back to ancient times. Marcus Aurelius reflects that “anyone with a feeling for nature—a deeper sensitivity—will find it all gives pleasure,” from the jaws of animals to the “distinct beauty of old age in men and women.”48 “Even Nature’s inadvertence has its own charms, its own attractiveness,” he observes, citing as an example the way loaves split open on top when baking.49 With respect to the natural world, celebrating the ordinary has been a staple of literature and art at least since the advent of Romanticism in the late eighteenth century. Wordsworth wrote three separate poems in praise of the lesser celandine, a common wildflower; painters like van Gogh discover whole worlds of beauty and significance in a pair of peasant boots; many of the finest poems crafted by poets like Thomas Hardy, Robert Frost, Elizabeth Bishop, William Carlos Williams, and Seamus Heaney take as their subject the most mundane objects, activities, or events and find in these something worth lingering over and commemorating in verse: a singing thrush, a snowy woods, a fish, some chilled plums, a patch of mint. Of course, artists have also celebrated the extraordinary, the exotic, and the magnificent. Homer gushes over the splendors of Menelaus’s palace; Gauguin left his home country to seek inspiration in the more exotic environment of Tahiti; Handel composed pieces to accompany momentous ceremonial occasions. Yet it is striking that a humble activity like picking blackberries—the subject of well-known poems by, among others, Sylvia Plath, Seamus Heaney, and Richard Wilbur—appears to be more inspirational to modern poets, more charged with interest and significance, than, say, the construction of the world’s tallest building, the Oscar ceremonies, the space program, or the discovery of DNA’s molecular structure. One might even say that it has now become an established function of art to help us discover the remarkable in the commonplace

It’s dark in here already,” Chet muttered as he entered the woods. He plowed along the trail the boys had made earlier, wishing he had not come alone. The white woods was eerie and the pines moaned and tossed in the wind, showering him with snow. Once Chet put up an arm to protect his face and stumbled off the trail into a clump of brush. He fought clear, found the path again, and went on. Suddenly the wind stopped. Startled by the silence, Chet paused. Why did he feel he was not alone? As he stood, breathing heavily, he heard a low moan behind him. It rose into a weird cry and trailed off into silence. Chet’s lips opened and closed, but he made no sound. With effort he forced himself to look back. Was there something tall and white standing against a snowy bush? As he strained to see, the thing vanished among the trees. With a hoarse cry Chet plunged down the trail and did not stop until he was in the cabin. Gasping, he locked the door and leaned against it.

The origins of the Narnia stories lay, Lewis tells us, in his imagination. It all began with an image of a faun carrying an umbrella and parcels through a snowy wood. Lewis’s celebrated description of the creative process depicts it as unfolding from mental images, which were then consciously connected to form a consistent plot. There are obvious and important parallels with the origins of Tolkien’s novel The Hobbit. In a letter to W. H. Auden (1907–1973), Tolkien recalled being bored to death during the early 1930s marking school certificate exam papers (he needed the extra money), when for some inexplicable reason, an idea came into his head. “On a blank leaf I scrawled: ‘In a hole in the ground there lived a hobbit.’ I did not and do not know why.”[559] Yet Lewis did not really see himself as “creating” Narnia. As he once commented, “creation” is “an entirely misleading term.” Lewis preferred to think of human thought as “God-kindled,”[560] and the writing process as the rearrangement of elements that God has provided. The writer takes “things that lie to hand,” and puts them to new use. Like someone who plants a garden, the author is only one aspect of a “causal stream.”[561] As we shall see, Lewis drew extensively on “elements” he found in literature. His skill lay not in inventing these elements, but in the manner he wove them together to create the literary landmark that we know as the Chronicles of Narnia.

Natalie’s house, not least because of the seventeen-inch Zenith, inside a pale wood cabinet, the biggest television Miri had ever seen. Her grandmother had a set but it was small with rabbit ears and sometimes the picture was snowy. The furniture in the Osners’ den all matched, the beige sofas and club chairs arranged around a Danish modern coffee table, with its neat stacks of magazines—Life, Look, Scientific American, National Geographic. A cloth bag with a wood handle, holding Mrs. Osner’s latest needlepoint project, sat on one of the chairs. A complete set of the Encyclopaedia Britannica took up three shelves of the bookcase, along with family photos, including one of Natalie at summer camp, in jodhpurs, atop a sleek black horse, holding her ribbons, and another of her little sister, Fern, perched on a pony. In one corner of the room was a game table with a chess set standing ready, not that she and Natalie knew how to play, but Natalie’s older brother, Steve, did and sometimes he and Dr. Osner would play for hours.

As a child, crisp spring afternoons were spent wading along Reedy Creek just beyond the field. Then came the heavy breeze in the autumn, pushing off the almond, auburn, sugar-yellow and apple-red leaves into the creek, providing rafts for dragonflies. In winter, the snow upon the wood became an eerie deep, and the occasional gliding of an owl would be spotted from our bedroom. Then, to spend an afternoon walking in a snowy wood and find a scarlet red cardinal perched on a white limb, you would think God arranged that picture just for you.

What should he be like, this lost man? A romantic, a man with a dream, a man with brown skin and blue eyes, living in a hut on a snowy mountain top, chopping wood and catching fish and swimming in cold mountain streams; a rough, free man with a kind heart and a shaggy beard, a man who owed allegiance to no one, who gave a damn for money and politics, and cities and civilizations, who was his own master, who lived at one with nature knowing no fear. But that was not Major Roberts—that was the man I wanted to be. He was not a Frenchman or an Englishman, he was me, a dream of myself.

In the last hour, highway turns to snowy country roads and the GPS system shuts down because you’re in a part of the world that Toyota doesn’t recognize (and the feeling is mutual). We always pull up carefully, making sure not to run over any outdoor cats. (One of the best-kept secrets of “country life” is that people accidentally crush their own pets a lot.) The house is cozy warm from the wood-burning heater. There are hugs and kisses and pies and soup and ham and biscuits and a continuous flow of Maxwell House coffee with nondairy creamer. We City Folk can pretend that we prefer the rotgut from Starcorps with skim milk and Splenda, but who are we kidding? Maxwell House with French vanilla corn syrup cannot be beat.

I have dreamed of going to bed as walking into clear water ringed by a snowy wood

The Indians say that the river once ran both ways, one half up and the other down, but that, since the white man came, it all runs down, and now they must laboriously pole their canoes against the stream, and carry them over numerous portages. In the summer, all stores—the grindstone and the plow of the pioneer, flour, pork, and utensils for the explorer—must be conveyed up the river in batteaux; and many a cargo and many a boatman is lost in these waters. In the winter, however, which is very equable and long, the ice is the great highway, and the loggers' team penetrates to Chesuncook Lake, and still higher up, even two hundred miles above Bangor. Imagine the solitary sled-track running far up into the snowy and evergreen wilderness, hemmed in closely for a hundred miles by the forest, and again stretching straight across the broad surfaces of concealed lakes! We

The Song of Wandering Aengus”—William Butler Yeats “Jabberwocky”—Lewis Carroll “Stopping by Woods on a Snowy Evening”—Robert Frost “Continent’s End”—Robinson Jeffers “Forgiveness”—George MacDonald “O Me! O Life!”—Walt Whitman “To the Virgins, to Make Much of Time”—Robert Herrick “In Memoriam A.H.H.”—Alfred Lord Tennyson “i like my body when it is with your”—E. E. Cummings “A Psalm of Life”—Henry Wadsworth Longfellow “The Lake Isle of Innisfree”—William Butler Yeats “Three Marching Songs”—William Butler Yeats “Song of Myself”—Walt Whitman “in the rain”—E. E. Cummings