Sorrow Looks Back Quotes

Sorrow looks back, Worry looks around, Faith looks up

It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart's longing. It doesn't interest me how old you are. I want to know if you will risk looking like a fool for love, for your dream, for the adventure of being alive. It doesn't interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow, if you have been opened by life's betrayals or have become shriveled and closed from fear of further pain!I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it, or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn't interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithlessand therefore trustworthy. I want to know if you can see beauty even when it's not pretty, every day,and if you can source your own life from its presence. I want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “Yes!” It doesn't interest me to know where you live or how much money you have. I want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children. It doesn't interest me who you know or how you came to be here. I want to know if you will stand in the center of the fire with me and not shrink back. It doesn't interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.

It's funny, how one can look back on a sorrow one thought one might well die of at the time, and know that one had not yet reckoned the tenth part of true grief.

I may have come close, but I never had what you had. Something always held me back or stood in the way. How you live your life is your business. But remember, our hearts and our bodies are given to us only once. Most of us can't help but live as though we've got two lives to live, one is the mockup, the other the finished version, and then there are all those versions in between. But there's only one, and before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there's sorrow. I don't envy the pain. But I envy you the pain.

O what a blessed day that will be when I shall . . . stand on the shore and look back on the raging seas I have safely passed; when I shall review my pains and sorrows, my fears and tears, and possess the glory which was the end of all!

One writes not to be read but to breathe...one writes to think, to pray, to analyze. One writes to clear one's mind, to dissipate one's fears, to face one's doubts, to look at one's mistakes--in order to retrieve them. One writes to capture and crystallize one's joy, but also to disperse one's gloom. Like prayer--you go to it in sorrow more than joy, for help, a road back to 'grace'.

Sorrow looks back, worry looks around, and faith looks up.

He feeds upon her face by day and night, And she with true kind eyes looks back on him, Fair as the moon and joyful as the light: Not wan with waiting, not with sorrow dim; Not as she is, but was when hope shone bright; Not as she is, but as she fills his dream.

I read once that sorrow looks back, worry looks around, and faith looks ahead.

Grief was like a terrible burden, but at least you could lay it down by the side of the road and walk away from it. Antonia had come only a few paces, but already she could turn and look back and not weep. It wasn't anything to do with forgetting. It was just accepting. Nothing was ever so bad once you had accepted it.

THE INVITATION by Oriah Mountain Dreamer It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart's longing. It doesn't interest me how old you are. I want to know if you will risk looking like a fool for love, for your dreams, for the adventure of being alive. It doesn't interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow, if you have been opened by life's betrayals or have become shriveled and closed from fear of future pain. I want to know if you can sit with pain, mine or your own, without moving to hide it, or fade it, or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn't interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy. I want to know if you can see beauty even when it's not pretty, every day, and if you can source your own life from its presence. I want to know if you can live with failure, yours or mine, and still stand on the edge of the lake and shout to the silver of the full moon, "yes!" It doesn't interest me who you know, or how you came to be here. I want to know if you will stand in the center of the fire with me and not shrink back. It doesn't interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with your and if you truly like the company you keep in the empty moments.

The vampires took everything from me, but I'm looking into the eyes of one who has the power to give me back a reason to live, who can heal my gaping hole of sorrow.

SONIA: What can we do? We must live our lives. [A pause] Yes, we shall live, Uncle Vanya. We shall live through the long procession of days before us, and through the long evenings; we shall patiently bear the trials that fate imposes on us; we shall work for others without rest, both now and when we are old; and when our last hour comes we shall meet it humbly, and there, beyond the grave, we shall say that we have suffered and wept, that our life was bitter, and God will have pity on us. Ah, then dear, dear Uncle, we shall see that bright and beautiful life; we shall rejoice and look back upon our sorrow here; a tender smile—and—we shall rest. I have faith, Uncle, fervent, passionate faith. [SONIA kneels down before her uncle and lays her head on his hands. She speaks in a weary voice] We shall rest. [TELEGIN plays softly on the guitar] We shall rest. We shall hear the angels. We shall see heaven shining like a jewel. We shall see all evil and all our pain sink away in the great compassion that shall enfold the world. Our life will be as peaceful and tender and sweet as a caress. I have faith; I have faith. [She wipes away her tears] My poor, poor Uncle Vanya, you are crying! [Weeping] You have never known what happiness was, but wait, Uncle Vanya, wait! We shall rest. [She embraces him] We shall rest. [The WATCHMAN’S rattle is heard in the garden; TELEGIN plays softly; MME. VOITSKAYA writes something on the margin of her pamphlet; MARINA knits her stocking] We shall rest.

She glances back before stepping into the alley, and she catches her grandfather looking at her the way he does sometimes--as if she's already gone, as if he's practicing sorrow.

Still, I look down, and the grass is so green, I cannot understand how it does not wither and die with sorrow. But against the emerald carpet, the warriors make war, and it is like a dance, almost beautiful, always macabre. The noise brings me back, the fearsome noise of swords striking swords, a metallic clanging that rings in my ears, echoing and echoing the fearsome din of men screaming and crying as they meet the sharp ends of blades.

Schoolboy days are no happier than the days of afterlife, but we look back upon them regretfully because we have forgotten our punishments at school and how we grieved when our marbles were lost and our kites destroyed – because we have forgotten all the sorrows and privations of the canonized ethic and remember only its orchard robberies, its wooden-sword pageants, and its fishing holidays.

One writes not to be read but to breathe...one writes to think, to pray, to analyze. One writes to clear one's mind, to dissipate one's fears, to face one's doubts, to look at one's mistakes--in order to retrieve them. One writes to capture and crystallize one's joy, but also to disperse one's gloom. Like prayer--you go to it in sorrow more than joy, for help, a road back to 'grace'." — Anne Morrow Lindbergh (War Within and Without: Diaries and Letters of Anne Morrow Lindbergh 1939-1944)

Letting go of people doesn’t mean you never loved them. Sometimes, it is the greatest act of love because it teaches them to be accountable for how they treat people who care. Maybe, not now, but years from now, they will look back and realize that kindness is more than yelling casual suggestions to a person that is drowning in their sea of apathy.

Here's the thing, say Shug. The thing I believe. God is inside you and inside everybody else. You come into the world with God. But only them that search for it inside find it. And sometimes it just manifest itself even if you not looking, or don't know what you looking for. Trouble do it for most folks, I think. Sorrow, lord. Feeling like shit. It? I ast. Yeah, It. God ain't a he or a she, but a It. But what do it look like? I ast. Don't look like nothing, she say. It ain't a picture show. It ain't something you can look at apart from anything else, including yourself. I believe God is everything, say Shug. Everything that is or ever was or ever will be. And when you can feel that, and be happy to feel that, you've found It. Shug a beautiful something, let me tell you. She frown a little, look out cross the yard, lean back in her chair, look like a big rose. She say, My first step from the old white man was trees. Then air. Then birds. Then other people. But one day when I was sitting quiet and feeling like a motherless child, which I was, it come to me: that feeling of being part of everything, not separate at all. I knew that if I cut a tree, my arm would bleed. And I laughed and I cried and I run all around the house. I knew just what it was. In fact, when it happen, you can't miss it. It sort of like you know what, she say, grinning and rubbing high up on my thigh. Shug! I say. Oh, she say. God love all them feelings. That's some of the best stuff God did. And when you know God loves 'em you enjoys 'em a lot more. You can just relax, go with everything that's going, and praise God by liking what you like. God don't think it dirty? I ast. Naw, she say. God made it. Listen, God love everything you love? and a mess of stuff you don't. But more than anything else, God love admiration. You saying God vain? I ast. Naw, she say. Not vain, just wanting to share a good thing. I think it pisses God off if you walk by the color purple in a field somewhere and don't notice it. What it do when it pissed off? I ast. Oh, it make something else. People think pleasing God is all God care about. But any fool living in the world can see it always trying to please us back. Yeah? I say. Yeah, she say. It always making little surprises and springing them on us when us least expect. You mean it want to be loved, just like the bible say. Yes, Celie, she say. Everything want to be loved. Us sing and dance, make faces and give flower bouquets, trying to be loved. You ever notice that trees do everything to git attention we do, except walk? Well, us talk and talk bout God, but I'm still adrift. Trying to chase that old white man out of my head. I been so busy thinking bout him I never truly notice nothing God make. Not a blade of corn (how it do that?) not the color purple (where it come from?). Not the little wildflowers. Nothing. Now that my eyes opening, I feels like a fool. Next to any little scrub of a bush in my yard, Mr. ____s evil sort of shrink. But not altogether. Still, it is like Shug say, You have to git man off your eyeball, before you can see anything a'tall. Man corrupt everything, say Shug. He on your box of grits, in your head, and all over the radio. He try to make you think he everywhere. Soon as you think he everywhere, you think he God. But he ain't. Whenever you trying to pray, and man plop himself on the other end of it, tell him to git lost, say Shug. Conjure up flowers, wind,water, a big rock. But this hard work, let me tell you. He been there so long, he don't want to budge. He threaten lightening, floods and earthquakes. Us fight. I hardly pray at all. Every time I conjure up a rock, I throw it. Amen

What is your name?' she asked. The youth ignored her, lowering his eyelids against the sun. She repeated her question. Again he ignored her, so she touched his arm, and he turned his head and looked at her, suddenly back from his own world, his eyes wary, half afraid. But he saw no anger in her; only the stains of tears, and an awful despair. His face changed, and a look of profound sorrow and compassion came over him. Very slowly he lifted his hand and wiped the tears from her cheeks. No other man could have touched her that morning; but the mad youth, with his extraordinary tenderness, gave such a depth of consolation that she found herself leaning her cheek against his hand, and sobbing. He wept with her, and there wove between them an understanding, a unity deep and poignant and powerful.

The Voyager We are all lonely voyagers sailing on life's ebb tide, To a far off place were all stripling warriors have died, Sometime at eve when the tide is low, The voices call us back to the rippling water's flow, Even though our boat sailed with love in our hearts, Neither our dreams or plans would keep heaven far apart, We drift through the hush of God's twilight pale, With no response to our friendly hail, We raise our sails and search for majestic light, While finding company on this journey to the brighten our night, Then suddenly he pulls us through the reef's cutting sea, Back to the place that he asked us to be, Friendly barges that were anchored so sweetly near, In silent sorrow they drop their salted tears, Shall our soul be a feast of kelp and brine, The wasted tales of wishful time, Are we a fish on a line lured with bait, Is life the grind, a heartless fate, Suddenly, "HUSH", said the wind from afar, Have you not looked to the heavens and seen the new star, It danced on the abyss of the evening sky, The sparkle of heaven shining on high, Its whisper echoed on the ocean's spray, From the bow to the mast they heard him say, "Hope is above, not found in the deep, I am alive in your memories and dreams when you sleep, I will greet you at sunset and with the moon's evening smile, I will light your path home.. every last lonely mile, My friends, have no fear, my work was done well, In this life I broke the waves and rode the swell, I found faith in those that I called my crew, My love will be the compass that will see you through, So don't look for me on the ocean's floor to find, I've never left the weathered docks of your loving mind, For I am in the moon, the wind and the whale's evening song, I am the sailor of eternity whose voyage is not gone.

Looking back upon the year's accumulated heap of troubles, Margaret wondered how they had been borne. If she could have anticipated them, how she would have shrunk away and hid herself from the coming time! And yet day by day had, of itself, and by itself, been very endurable--small, keen, bright little spots of positive enjoyment having come sparkling into the very middle of sorrows.

A Brief for the Defense Sorrow everywhere. Slaughter everywhere. If babies are not starving someplace, they are starving somewhere else. With flies in their nostrils. But we enjoy our lives because that's what God wants. Otherwise the mornings before summer dawn would not be made so fine. The Bengal tiger would not be fashioned so miraculously well. The poor women at the fountain are laughing together between the suffering they have known and the awfulness in their future, smiling and laughing while somebody in the village is very sick. There is laughter every day in the terrible streets of Calcutta, and the women laugh in the cages of Bombay. If we deny our happiness, resist our satisfaction, we lessen the importance of their deprivation. We must risk delight. We can do without pleasure, but not delight. Not enjoyment. We must have the stubbornness to accept our gladness in the ruthless furnace of this world. To make injustice the only measure of our attention is to praise the Devil. If the locomotive of the Lord runs us down, we should give thanks that the end had magnitude. We must admit there will be music despite everything. We stand at the prow again of a small ship anchored late at night in the tiny port looking over to the sleeping island: the waterfront is three shuttered cafés and one naked light burning. To hear the faint sound of oars in the silence as a rowboat comes slowly out and then goes back is truly worth all the years of sorrow that are to come.

Audry Hepburn on the cover of The Nun's Story was staring up at me from my unmade bed. Her hair was hidden by her snow-white wimple; her big eyes looked frightened. "What are you looking at?" I said. "Fuck you." It was the first time I'd ever said the word. I felt a brief shiver of power. Then I sat back on the bed and sobbed. Dolores Price: Lady of Sorrow.

Mowrer and his family made it safely to Tokyo. His wife, Lillian, recalled her great sorrow at having to leave Berlin. “Nowhere have I had such lovely friends as in Germany,” she wrote. “Looking back on it all is like seeing someone you love go mad—and do horrible things.

Sabine stood up, satisfied that her friends were safe and content. When she moved, Calla lifted her head. Her eyes focused in Sabine's direction. Despite the distance between them, Sabine Could have sworn Calla was looking right at her. The white wolf's ears flicked back and forth. She lifted her muzzle and howled. The sound filled Sabine with a mixture of sweetness and sorrow. The other wolves joined the song, their familiar voices blending in the winter air. Sabine watched them from another minute, then she turned and walked back to Ethan. "Everything okay?" he asked. She handed him the binoculars. "They're happy. So I'm happy." ... She turned, listening to the song carried on the stiff winter breeze. Nev's voice rose about the other wolves' as the chorus of howls wove through the air. Sabine wondered if somehow they knew she was here, and if they might be saying good-bye or if they were asking her to stay.

Gandalf and Pippin came to Merry's room, and there they found Aragorn standing by the bed. 'Poor old Merry!' cried Pippin, and he ran to the bedside, for it seemed to him that his friend looked worse and a greyness in his face, as if a weight of years and sorrow lay upon him; and suddenly a fear seized Pippin that Merry would die. 'Do not be afraid,' Aragorn said, 'I came in time, and I have called him back. He is weary now, and grieved, and he has taken a hurt like the lady Eowyn, daring to smite that deadly thing. But these evils can be amended, so strong and gay a spirit is in him. His grief he will not forget; but it will not darken his heart, it will teach him wisdom.' Then Aragorn laid his hand on Merry's head, and passing his hand gently through the brown curls , he touched the eyelids, and called him by name. And when the fragrance of athelas stole through the room, like the scent of orchards, and of heather in the sunshine full of bees, suddenly Merry awoke, and he said: 'I am hungry. What is the time?' 'Past supper-time now,' said Pippin; 'though I daresay I could bring you something, if they will let me.' 'They will indeed," said Gandalf, . 'And anything else that this Rider of Rohan may desire, if it can be found in Minas Tirith, where his name is in honour." 'Good!' said Merry. 'Then I would like supper first, and after that a pipe.

When you least expect it, nature has cunning ways of finding our weakest spot. Just remember I’m here. Right now, you may not want to feel anything. Maybe you’ll never want to feel anything. And, maybe it’s not to me you want to speak about these things, but I feel something you obviously did. Look, you had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away, or pray that their sons land on their feet. But I am not such a parent. We rip out so much of ourselves to be cured of things faster that we go bankrupt by the age of 30 and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything—what a waste! And I’ll say one more thing… it’ll clear the air. I may have come close, but I never have what you two have. Something always held me back or stood in the way. How you live your life is your business. Just remember, our hearts and our bodies are given to us only once, and before you know it, your heart’s worn out. And as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now, there’s sorrow, pain; don’t kill it, and with it, the joy you’ve felt.

Dr. Urbino caught the parrot around the neck with a triumphant sigh: ça y est. But he released him immediately because the ladder slipped from under his feet and for an instant he was suspended in the air and then he realized that he had died without Communion, without time to repent of anything or to say goodbye to anyone, at seven minutes after four on Pentecost Sunday. Fermina Daza was in the kitchen tasting the soup for supper when she heard Digna Pardo's horrified shriek and the shouting of the servants and then of the entire neighborhood. She dropped the tasting spoon and tried to run despite the invincible weight of her age, screaming like a madwoman without knowing yet what had happened under the mango leaves, and her heart jumped inside her ribs when she saw her man lying on his back in the mud, dead to this life but still resisting death's final blow for one last minute so that she would have time to come to him. He recognized her despite the uproar, through his tears of unrepeatable sorrow at dying without her, and he looked for her for the last and final time with eyes more luminous, more grief-stricken, more grateful that she had ever seen them in the half century of a shared life, and he managed to say to her with his last breath: "Only God knows how much I loved you.

I wish I'd been accepted sooner and better. When I was younger, not being accepted made me enraged, but now, I am not inclined to dismantle my history. If you banish the dragons, you banish the heroes--and we become attached to the heroic strain in our personal history. We choose our own lives. It is not simply that we decide on the behaviors that construct our experience; when given our druthers, we elect to be ourselves. Most of us would like to be more successful or more beautiful or wealthier, and most people endure episodes of low self-esteem or even self-hatred. We despair a hundred times a day. But we retain the startling evolutionary imperative for the fact of ourselves, and with that splinter of grandiosity we redeem our flaws. These parents have, by and large, chosen to love their children, and many of them have chosen to value their own lives, even though they carry what much of the world considers an intolerable burden. Children with horizontal identities alter your self painfully; they also illuminate it. They are receptacles for rage and joy-even for salvation. When we love them, we achieve above all else the rapture of privileging what exists over what we have merely imagined. A follower of the Dalai Lama who had been imprisoned by the Chinese for decades was asked if he had ever been afraid in jail, and he said his fear was that he would lose compassion for his captors. Parents often think that they've captured something small and vulnerable, but the parents I've profiled here have been captured, locked up with their children's madness or genius or deformity, and the quest is never to lose compassion. A Buddhist scholar once explained to me that most Westerners mistakenly think that nirvana is what you arrive at when your suffering is over and only an eternity of happiness stretches ahead. But such bliss would always be shadowed by the sorrow of the past and would therefore be imperfect. Nirvana occurs when you not only look forward to rapture, but also gaze back into the times of anguish and find in them the seeds of your joy. You may not have felt that happiness at the time, but in retrospect it is incontrovertible. For some parents of children with horizontal identities, acceptance reaches its apogee when parents conclude that while they supposed that they were pinioned by a great and catastrophic loss of hope, they were in fact falling in love with someone they didn't yet know enough to want. As such parents look back, they see how every stage of loving their child has enriched them in ways they never would have conceived, ways that ar incalculably precious. Rumi said that light enters you at the bandaged place. This book's conundrum is that most of the families described here have ended up grateful for experiences they would have done anything to avoid.

Healing is not healed. Numbed is not healed. Healing takes time. Healing takes patience. Healing takes love. Healing sometimes triggers anger or sadness or sorrow or guilt or regret. Long suppressed. Long unaddressed So we make up that healing is wrong,useless and to be avoided And we head back to numbing And look for love and connection With the numbed and suppressed,unaddressed and repressed... Give space for the damage Give space for the healing Let the healing begin and begin and begin.........

In an Artist’s Studio One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel - every canvas means The same one meaning, neither more nor less. He feeds upon her face by day and night, And she with true kind eyes looks back on him, Fair as the moon and joyful as the light: Not wan with waiting, not with sorrow dim; Not as she is, but was when hope shone bright; Not as she is, but as she fills his dream.

Looking back, it is unlikely our mother knew them either – the object of her parties seemed to be filling the house with extraordinary strangers and being extraordinary in front of them, and not a person who used to live above a key-cutter. It was not enough to be extraordinary to the three of us.

etherness n. the wistful feeling of looking around at a gathering of loved ones, all too aware that even though the room is filled with warmth and laughter now, it won't always be this way-that the coming years will steadily break people away into their own families, or see them pass away one by one, until there comes a time you look back and try to imagine what it feels like to have everyone together in the same place.

I have seen the face of sorrow She looks away in the distance Across all these bridges From whence I came And those spans, trussed and arched Hold up our lives as we go back again To how we thought then To how we thought we thought then I have seen sorrow's face, But she is ever turned away And her words leave me blind Her eyes make me mute I do not understand what she says to me I do not know if to obey Or attempt a flood of tears I have seen her face She does not speak She does not weep She does not know me For I am but a stone fitted in place On the bridge where she walks Lay of the Bridgeburners Toc the Younger

For once, he could look back at the past without regret, and at the future without bewilderment. Simply and touchingly, he wrote in his diary: “I have had so much happiness in my life so far that I feel, no matter what sorrows come, the joys will have overbalanced them.

I don't know why, but any thought of the future upsets me intolerably. So I had to turn and look back at certain aspects of the past, and only then did I recover my calm. I thought of our friendship and was overcome by guilt at having allowed so much bitterness to invade my wretched heart. I recalled the joys and sorrows we had shared. Both are so dear to me that I began to sob like a woman when I remembered them.

My dad died, I write. almost a year ago. Car accident. My hand is shaking; my eyes sting and fill. I add Not his fault before pushing the notebook and pen back across the table, wiping a hand across my cheeks. As he reads, my impulse is to reach out, grab the notebook, run outside, dump it in the trash, bury it in the snow, throw it under the wheels of a passing car - something, something, so I can go back fifteen seconds when this part ofme was still shut away and private. Then I look at Ravi's face again, and the normally white white whites of his eyes are pink. This causes major disruption to my ability to control the flow of my own tears. I see myself when I look at him right now: he's reflecting my sadness, my broken heart, back to me. He takes the pe, writes, and slides it over. You'd think it's something epic from the way it levels my heart. It isn't. I'm really sorry, Jill. Four little words.

I have seen the face of sorrow She looks away in the distance Across all these bridges From whence I came And those spans, trussed and arched Hold up our lives as we go back again To how we thought then To how we thought we thought then I have seen sorrow`s face, And her words leave me blind Her eyes make me mute I do not understand what she says to me I do not know if to obey Or attempt a flood of tears I have seen her face She does not speak She does not weep She does not know me For I am but a stone fitted in place On the bridge where she walks

The moon occurs more frequently than the sun as an image in lyric poetry. There is a greater contrast between the moon and the night sky than there is between the sun and the daytime sky. And this contrast is more conducive to sorrow, which always separates or isolates itself, than it is to happiness, which always joins or blends. And to stand face-to-face with the sun is preposterous -- it would blind you. The moon has no light of its own; our apprehension of it is but a reflection of the sun. And some believe artists reflect the creative powers of some original impulse too great to name. The moon is the incunabulum of photography, the first photograph, the first stilled moment, the first study in contrasts. Me here -- you there. Between 1969 and 1972, six missions left for the moon and six missions came back. The men who went to the moon who were forever altered without exception all say the same thing -- it was not being on the moon that profoundly affected them as much as it was looking at the earth from the vantage point of the moon. You there -- me here.

Jesus wiped his tears on the back of his hand, blew his nose, who knows where, and yes, there is no point spending the whole day here, the desert is what it is, it surrounds us, in some ways protects us, but when it comes to giving, it gives us nothing, it simply looks on, and when the sun suddenly clouds over, so that we find ourselves thinking, The sky mirrors our sorrow, we are being foolish, because the sky is quite impartial and neither rejoices in our happiness nor is cast down by our grief.

An old Russian folk song is like water held back by a dam. It looks as if it were still and were no longer flowing, but in its depths it is ceaselessly rushing through the sluice gates and the stillness of its surface is deceptive. By every possible means, by repetitions and similes, the song slows down the gradual unfolding of its theme. Then at some point it suddenly reveals itself and astounds us. That is how the song’s sorrowing spirit comes to expression. The song is an insane attempt to stop time by means of its words.

But if pressed, I’d have to say that what I love most about the subways of New York is what they do not do. One may spend a lifetime looking back—whether regretfully or wistfully, with shame or fondness or sorrow—and thinking how, given the chance, things might have been done differently. But when you enter a subway car and the doors close, you have no choice but to give yourself over to where it is headed. The subway only goes one way: forward.

There is no higher meaning. Sometimes things happen for no reason. Fate is cruel, and arbitrary. Touching wood, lucky charms, none of it will help you see the car you never saw coming, or avoid the tumor you didn’t realize you had. Quite the opposite, in fact. For in that moment that you turn your head to look for the second magpie, in the hope of changing your fortune from sorrow to joy—that’s when you take your attention away from the things you can change, the crossing light, the speeding car, the moment you should have turned back.

No Child of Yours I saw a child hide in the corner So I went and asked her name She was so naive and so petite With such a tiny frame. 'No one,' she replied, that's what I am called I have no family, no one at all I eat, I sleep, I get depressed There is no life, I have nothing left.' 'Why hide in the corner?' I had to ask twice Because I've been hurt, it not very nice I tried to stop it, it was out of my control I feared for myself I wanted to go. I begged for my sorrow to disappear I turned in my bed, oh God, I knew they were near 'So come on little girl, where do you go A path ahead, or a path to unknown?' With that she arose, her head hung low She held herself for only she knows Her tears held back, her heart like ice It looks as though she has paid the price. The ice started melting, her tears to flow The memories flood back, still so many years to go The pain, the anger all built up inside Nowhere to run, nowhere to hide. It will get better, just wait and see You'll get a life, though you'll never be fire Open your heart and love yourself The abuse you suffered was NOT your fault.

Sorrow and profound fatigue are at the heart of Dewey's silence. It had been his ambition to learn "exactly what happened in that house that night." Twice now he'd been told, and the two versions were very much alike, the only serious discrepancy being that Hickock attributed all four deaths to Smith, while Smith contended that Hickock had killed the two women. But the confessions, though they answered questions of how and why, failed to satisfy his sense of meaningful design. The crime was a psychological accident, virtually an impersonal act; the victims might as well have been killed by lightning. Except for one thing: they had experienced prolonged terror, they had suffered. And Dewey could not forget their sufferings. Nonetheless, he found it possible to look at the man beside him without anger - with, rather, a measure of sympathy - for Perry Smith's life had been no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another. Dewey's sympathy, however, was not deep enough to accommodate either forgiveness or mercy. He hoped to see Perry and his partner hanged - hanged back to back.

They did not strive to gain knowledge of life as we strive to understand it, because their lives were full. But their knowledge was higher and deeper than the knowledge we derive from our science; for our science seeks to explain what life is and strives to understand it in order to teach others how to live, while they knew how to live without science... Oh, these people were not concerned whether I understood them or not; they loved me without it. But I knew too that they would never be able to understand me, and for that reason I hardly ever spoke to them of it. It remained somehow beyond the grasp of my reason, and yet it sank unconsciously deeper and deeper into my heart. I often told them that I had had a presentiment of it years ago and that all that joy and glory has been perceived by me while I was still back there as a nostalgic yearning, bordering at times on unendurably poignant sorrow; that I had had a presentiment of all of them and of their glory in the dreams of my heart and the reveries of my soul; and that I could often not look at the setting sun without tears. I was overpowered by the mere sensation of that dream and it alone survived in my sorely wounded heart.

When we shall come home and enter to the possession of our Brother’s fair kingdom, and when our heads shall find the weight of the eternal crown of glory, and when we shall look back to pains and sufferings; then shall we see life and sorrow to be less than one step or stride from a prison to glory; and that our little inch of time-suffering is not worthy of our first night’s welcome home to heaven.

At eighteen, she already looks like a woman of sorrows and as her breaths start becoming shorter, tired of looking over her shoulder, she only wants to get away from this city where no one can fathom her love- boundless and profane and real, like her skin and her lips and the insides of her thighs. She knows she can smile, smell like the others. Her skin would bleed too if pricked and yet this reality does not belong to the ones sleeping on the platform floor; this reality is hers and her alone. Thus when she puts the mirror back, she rummages in her handbag, searching for that thing called identity: some of it lost somewhere in the railway colony she had just left behind, some in Sudhanshu’s left jacket pocket, the rest of it scattered here around broken teacups on railings, totally aberrant and arbitrary.

Starkly in an instant she saw herself as she really was-alone in a wood standing among blue shadows with no sounds and the air a sort of black ice. She had no coat. All the people she’d known had forgotten her. Her mother, biting off thread between her teeth, couldn’t hear her, and her father with his eyes turned sorrowfully inward did not see her. They never had. Those she loved did not need her. Lila and Carl danced together in a bubble. Ralph Eastman picked lint from his sleeve. Buddy tucked in his shirttails, jumped in a truck and drove away. Fiona Speed showed the back of her hat, heading downtown in a cab. They all had more important concerns, they were all in their own lives, and there was no room for her. At night their doors were shut and through lit windows she could see them consulting one another, checking the baby, looking after business, licking envelopes, turning back the bedcover, shutting off the light switch, while she was left stranded out in the chill night in the true human state, lost, in the dark, alone.

I thank you, Wilhelm, for your heartfelt sympathy, for your well-intentioned advice, but beg you to be quiet. Let me stick it out. Blessedly exhausted as I am, I have strength enough to carry through. I honor religion, you know that, I feel it is a staff for many weary souls, refreshment for many a one who is pining away. But--can it be, must it be, the same thing for everyone? If you look at the great world, you see thousands for whom it wasn't, thousands for whom it will not be the same, preached or unpreached, and must it then be the same for me? Does not the son of God Himself say that those would be around Him whom the Father had given Him? But if I am not given? If the Father wants to keep me for Himself, as my heart tells me?--I beg you, do not misinterpret this, do not see mockery in these innocent words. What I am laying before you is my whole soul; otherwise I would rather have kept silent, as I do not like to lose words over things that everyone knows as little about as I do. What else is it but human destiny to suffer out one's measure, drink up one's cup?--And if the chalice was too bitter for the God from heaven on His human lips, why should I boast and pretend that it tastes sweet to me? And why should I be ashamed in the terrible moment when my entire being trembles between being and nothingness, since the past flashes like lightning above the dark abyss of the future and everything around me is swallowed up, and the world perishes with me?--Is that not the voice of the creature thrown back on itself, failing, trapped, lost, and inexorably tumbling downward, the voice groaning in the inner depths of its vainly upwards-struggling energies: My God! My God! Why hast thou forsaken me? And if I should be ashamed of the expression, should I be afraid when facing that moment, since it did not escape Him who rolls up heaven like a carpet?

harke n. a painful memory that you look back upon with unexpected fondness, even though you remember having dreaded it at the time; a tough experience that has since been overridden by the pride of having endured it, the camaraderie of those you shared it with, or the satisfaction of having a good story to tell. From hark back, a command spoken to hunting dogs to retrace their course so they can pick up a lost scent. Pronounced "hahrk.

Now I think that just to be in the same room as you is adventure enough, that your friendship would be more exciting than most people’s love. All my good intentions left me the minute I set eyes on you today, and I know that even if I tell you to go now, sooner or later I’ll come crawling back like a spaniel begging for any crumb you might throw me. I know that my love for you will make me lie my way into your friendship, that I’ll deny the very fact of its existence just for the joy of seeing you.’ She looked away, suddenly self-conscious. ‘It’s ironic, isn’t it? I don’t want you to change at all, but I’ll become whatever I have to just to be near you—I’ll even be your friend.

They had had half an hour. He walked with her to Whitehall, toward the bus stop. In the precious final minutes he wrote out his address for her, a bleak sequence of acronyms and numbers. “then, at last, he took her hand and squeezed. The gesture had to carry all that had not been said, and she answered it with pressure from her own hand. Her bus came, and she did not let go. They were standing face to face. He kissed her, lightly at first, but they drew closer, and when their tongues touched, a disembodied part of himself was abjectly grateful, for he knew he now had a memory in the bank and would be drawing on it for months to come. He was drawing on it now, in a French barn, They tightened their embrace and went on kissing while people edged past them in the queue. She was crying onto his cheek, and her sorrow stretched her lips against his. Another bus arrived. She pulled away, squeezed his wrist, and got on without a word and didn’t look back. He watched her find her seat, and as the bus began to move realized he should have gone with her, all the way to the hospital. He had thrown away minutes in her company. He must learn again how to think “and act for himself. He began to run along hoping to catch up with her at the next stop. But her bus was far ahead

Deigh,' Liam whispers, falling limp against Tairn's back. 'I'll get you to him,' I promise, already fumbling with the strap's buckle. 'Deigh's gone,' I cry to Xaden, my voice a trembling mess. 'Liam is dying.' 'No,' I feel his terror, his sorrow, and his overpowering anger wrap around my mind, mixing with my own until it hurts to breathe. Minutes. We have minutes. 'Just hold on,' I whisper to Liam, fighting not to cry as he looks up at me with those sky-blue eyes, wide with shock and pain. After everything Liam has given up for me, this is the least I can do for him. I can get him to Deigh the same way I know he would carry me to Tairn or Andarna.

Perishable, It Said Perishable, it said on the plastic container, And below, in different ink, The date to be used by, the last teaspoon consumed. I found myself looking; Now at the back of each hand, Now inside the knees, Now turning over each foot to look at the sole. Then at the leaves of the young tomato plants, Then at the arguing jays. Under the wooden table and lifted stones, looking. Coffee cups, olives, cheeses, Hunger, sorrow, fears- These too would certainly vanish, without knowing when. How suddenly then The strange happiness took me, Like a man with strong hands and strong mouth, Inside that hour with its perishing perfumes and clashings.

Perhaps "camp" is set in the 'twenties because after that differences between the sexes - especially visible differences - began to fade. This, of course, has never mattered to women in the least. They know they are women. To homosexuals, who must, with every breath they draw, with every step they take, demonstrate that they are feminine, it is frustrating. They look back in sorrow to that more formal era and try to relive it.

Who is Aslan?” asked Susan. “Aslan?” said Mr. Beaver, “Why, don’t you know? He’s the King. He’s the Lord of the whole wood, but not often here, you understand. Never in my time or my father’s time. But the word has reached us that he has come back. He is in Narnia at this moment. He’ll settle the White Queen all right. It is he, not you, that will save Mr. Tumnus.” “She won’t turn him into stone too?” said Edmund. “Lord love you, Son of Adam, what a simple thing to say!” answered Mr. Beaver with a great laugh. “Turn him into stone? If she can stand on her two feet and look him in the face it’ll be the most she can do and more than I expect of her. No, no. He’ll put all to rights, as it says in an old rhyme in these parts: Wrong will be right, when Aslan comes in sight, At the sound of his roar, sorrows will be no more, When he bares his teeth, winter meets its death And when he shakes his mane, we shall have spring again. You’ll understand when you see him.” “But shall we see him?” asked Susan. “Why, Daughter of Eve, that’s what I brought you here for. I’m to lead you where you shall meet him,” said Mr. Beaver. “Is--is he a man?” asked Lucy. “Aslan a man!” said Mr. Beaver sternly. “Certainly not. I tell you he is the King of the wood and the son of the great Emperor-Beyond-the-Sea. Don’t you know who is the King of Beasts? Aslan is a lion--the Lion, the great Lion.” “Ooh!” said Susan, “I’d thought he was a man. Is he--quite safe? I shall feel rather nervous about meeting a lion.” “That you will, dearie, and no mistake,” said Mrs. Beaver. “If there’s anyone who can appear before Aslan without their knees knocking, they’re either braver than most or else just silly.” “Then he isn’t safe?” said Lucy. “Safe?” said Mr. Beaver. “Don’t you hear what Mrs. Beaver tells you? Who said anything about safe? ’Course he isn’t safe. But he’s good. He’s the King, I tell you.

Old Marsh wore a look of sorrow upon his face. “You called him, miss. You called him. You must send him back now. You must send him back. He won’t be the brother you remember. It ain’t his spirit comes back. I told you that. It’s the soul of death comes back, that’s what it is, miss. The soul of death in disguise like your brother. Only the one who called him can send him back. I saw the bird in the cellars, in the bowl, miss. I know what you done. I know what you called.

Opia. So much can be said in a glance. Such ambiguous intensity, both invasive and vulnerable—glittering black, bottomless and opaque. The eye is a keyhole, through which the world pours in and a world spills out. And for a few seconds, you can peek through into a vault, that contains everything they are. But whether the eyes are the windows of the soul or the doors of perception, it doesn't matter: you're still standing on the outside of the house. Eye contact isn't really contact at all. It's only ever a glance, a near miss, that you can only feel as it slips past you. There’s so much we keep in the back room. We offer up a sample of who we are, of what we think people want us to be. But so rarely do we stop to look inside, and let our eyes adjust, and see what's really there. Because you too are peering out from behind your own door. You put yourself out there, trying to decide how much of the world to let in. It's all too easy for others to size you up, and carry on their way. They can see you more clearly than you ever could. And yours is the only vault you can't see into, that you can't size up in an instant. So we're all just exchanging glances, trying to tell each other who we are, trying to catch a glimpse of ourselves, feeling around in the darkness.

Then let me say one more thing. It will clear the air. I may have come close, but I never had what you had. Something always held me back or stood in the way. How you live your life is your business. But remember, our hearts and our bodies are given to us only once. Most of us can’t help but live as though we’ve got two lives to live, one is the mockup, the other the finished version, and then there are all those versions in between. But there’s only one, and before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there’s sorrow. I don’t envy the pain. But I envy you the pain.

They had been there. I had seen my mother’s anxious face, desperate to catch my eye and give me a warm smile. I had tried to smile back, but I had not known how. That old curse again. How to smile. If I smiled too broadly it might look like triumphalism; if I smiled too weakly it might look like a feeble bid for sympathy. If I smiled somewhere in between it would, I knew, look, as always, like plain smugness. Somehow I managed to bare my teeth in a manner that expressed, I hope, sorrow, gratitude, determination, shame, remorse and resolve.

It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart’s longing. It doesn’t interest me how old you are. I want to know if you will risk looking like a fool for love, for your dream, for the adventure of being alive. It doesn’t interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow, if you have been opened by life’s betrayals or have become shriveled and closed from fear of further pain. I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn’t interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy. I want to know if you can see beauty, even when it’s not pretty, every day, and if you can source your own life from its presence. I want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “Yes!” It doesn’t interest me to know where you live or how much money you have. I want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children. It doesn’t interest me who you know or how you came to be here. I want to know if you will stand in the center of the fire with me and not shrink back. It doesn’t interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.

Please do not look only at the dark side All the newspapers in the free world explain why you return their readers understand how you feel You have the sympathy of millions As a tribute to your sorrow we resolve to spend more money on nuclear weapons there is always a bright side If this were only a movie a boat would be available have you ever seen our movies they end happily You would lean at the rail with 'him' the sun would set on China kiss and fade You would marry one of the kind authorities In our movies there is no law higher than love in real life duty is higher You would not want the authorities to neglect duty How do you like the image of the free world sorry you cannot stay This is the first and last time we will see you in our papers When you are back home remember us we will be having a good time.

And thus they form a perfect group; he walks back two or three paces, selects his point of sight, and begins to sketch a hurried outline. He has finished it before they move; he hears their voices, though he cannot hear their words, and wonders what they can be talking of. Presently he walks on, and joins them. 'You have a corpse there, my friends?' he says. 'Yes; a corpse washed ashore an hour ago.' 'Drowned?' 'Yes, drowned; - a young girl, very handsome.' 'Suicides are always handsome,' he says; and then he stands for a little while idly smoking and meditating, looking at the sharp outline of the corpse and the stiff folds of the rough canvas covering. Life is such a golden holiday to him young, ambitious, clever - that it seems as though sorrow and death could have no part in his destiny. ("The Cold Embrace")

A naturalist should look at the world with warm affection, if not ardent love. The life the scalpel has ended ought to be honored by a caring, devoted appreciation for that creature’s unrepeatable individuality, and for the fact that, at the same time, strange as this may seem, this life stands for the entire natural kingdom. Examined with attention, the dissected hare illuminates the parts and properties of all other animals and, by extension, their environment. The hare, like a blade of grass or a piece of coal, is not simply a small fraction of the whole but contains the whole within itself. This makes us all one. If anything, because we are all made of the same stuff. Our flesh is the debris of dead stars, and this is also true of the apple and its tree, of each hair on the spider’s legs, and of the rock rusting on planet Mars. Each minuscule being has spokes radiating out to all of creation. Some of the raindrops falling on the potato plants in your farm back in Sweden were once in a tiger’s bladder. From one living thing, the properties of any other may be predicted. Looking at any particle with sufficient care, and following the chain that links all things together, we can arrive at the universe—the correspondences are there, if the eye is skillful enough to detect them. The guts of the anatomized hare faithfully render the picture of the entire world. And because that hare is everything, it is also us. Having understood and experienced this marvelous congruity, man can no longer examine his surroundings merely as a surface scattered with alien objects and creatures related to him only by their usefulness. The carpenter who can only devise tabletops while walking through the forest, the poet who can only remember his own private sorrows while looking at the falling snow, the naturalist who can only attach a label to every leaf and a pin to every insect—all of them are debasing nature by turning it into a storehouse, a symbol, or a fact. Knowing nature, Lorimer would often say, means learning how to be. And to achieve this, we must listen to the constant sermon of things. Our highest task is to make out the words to better partake in the ecstasy of existence.

After a moment or two a man in brown crimplene looked in at us, did not at all like the look of us and asked us if we were transit passengers. We said we were. He shook his head with infinite weariness and told us that if we were transit passengers then we were supposed to be in the other of the two rooms. We were obviously very crazy and stupid not to have realized this. He stayed there slumped against the door jamb, raising his eyebrows pointedly at us until we eventually gathered our gear together and dragged it off down the corridor to the other room. He watched us go past him shaking his head in wonder and sorrow at the stupid futility of the human condition in general and ours in particular, and then closed the door behind us. The second room was identical to the first. Identical in all respects other than one, which was that it had a hatchway let into one wall. A large vacant-looking girl was leaning through it with her elbows on the counter and her fists jammed up into her cheekbones. She was watching some flies crawling up the wall, not with any great interest because they were not doing anything unexpected, but at least they were doing something. Behind her was a table stacked with biscuits, chocolate bars, cola, and a pot of coffee, and we headed straight towards this like a pack of stoats. Just before we reached it, however, we were suddenly headed off by a man in blue crimplene, who asked us what we thought we were doing in there. We explained that we were transit passengers on our way to Zaire, and he looked at us as if we had completely taken leave of our senses. 'Transit passengers? he said. 'It is not allowed for transit passengers to be in here.' He waved us magnificently away from the snack counter, made us pick up all our gear again, and herded us back through the door and away into the first room where, a minute later, the man in the brown crimplene found us again. He looked at us. Slow incomprehension engulfed him, followed by sadness, anger, deep frustration and a sense that the world had been created specifically to cause him vexation. He leaned back against the wall, frowned, closed his eyes and pinched the bridge of his nose. 'You are in the wrong room,' he said simply. `You are transit passengers. Please go to the other room.' There is a wonderful calm that comes over you in such situations, particularly when there is a refreshment kiosk involved. We nodded, picked up our gear in a Zen-like manner and made our way back down the corridor to the second room. Here the man in blue crimplene accosted us once more but we patiently explained to him that he could fuck off.

All men are liars, fickle, chatterers, hypocrites, proud or cowardly, despicable, sensual ; all women faithless, tricky, vain, inquisitive, and depraved. The world is only a bottomless cesspool, where the most shapeless sea-beasts climb and writhe on mountains of slime. But there is in the world a thing holy and sublime — the union of two of these beings, imperfect and frightful as they are. One is often deceived in love, often wounded, often unhappy ; but one loves, and on the brink of the grave one turns to look back and says : I have suffered often, sometimes I have been mistaken, but I have loved. It is I who have lived, and not a spurious being bred of my pride and my sorrow

When the minds of men slip from realities to fantasies without thinking of the future consequences, then we must ponder. When the hearts of men are entangled with what though might seem great but yet, specious ambitions without pondering over the resulting footprints, then we ought to take precautions. When the hands of men unwittingly and for the sake of self-gratification find the right weapons and dexterity for the wrong purpose, then massacre and cruelties leave indelible footprints of sorrow and bitterness in the hearts of men. We shall always look back to the footprints of yesterday to say had we know if we don’t take a critical look at today’s footsteps. There is always an alternative that is better than good

From childhood's hour I have not been As others were- I have not seen As others saw- I could not bring My passions from a common spring From the same source I have not taken My sorrow, I could not awaken My heart to joy at the same tone; And all I lov'd, I lov'd alone.' I tried to read the words in a flat sing-song tone without feeling, so none of the kids would understand what his poem meant to me, but their eyes were already glazed with boredom. I dropped my gaze and walked back to my seat. Mrs. Noble squeezed my arm as I passed, and when I looked up I saw she had tears in her eyes. The way she looked at me made me want to cry, too. It was as though she could really see me, and there was no criticism of me in her eyes.

You were born on a moving train. And even though it feels like you're standing still, time is sweeping past you, right where you sit. But once in a while you look up, and actually feel the inertia, and watch as the present turns into a memory —as if some future you is already looking back on it. Dès Vu. One day you’ll remember this moment, and it’ll mean something very different. Maybe you’ll cringe and laugh, or brim with pride, aching to return. or notice some detail hidden in the scene, a future landmark making its first appearance or discreetly taking its final bow. So you try to sense it ahead of time, looking for clues, as if you’re walking through the memory while it’s still happening, feeling for all the world like a time traveler. The world around you is secretly strange: some details are charming and dated, others precious and irretrievable, but all fade into the quaint texture of the day. You try to read the faces around you, each fretting about the day’s concerns, not yet realizing that this world is already out of their hands. That it doesn’t have to be this way, it just sort of happened, and everything will soon be completely different. Because you really are a time traveler, leaping into the future in little tentative steps. Just a kid stuck in a strange land without a map, With nothing to do but soak in the moment and take one last look before moving on. But another part of you is already an old man, looking back on things. Waiting at the door for his granddaughter, who’s trying to make her way home for a visit. You are two people still separated by an ocean of time, Part of you bursting to talk about what you saw, Part of you longing to tell you what it means.

I looked at the eyes of the ghosts sitting around the fire and at Beeta, and suddenly I realized that we dead are the sorrowful part of life, while the living are the joyful side of death. And yet, Beeta was not joyful and it was the sad side of life that she didn't even know she should be joyful in life because there was nothing else she could do. I wanted to tell her this, but was afraid of bringing her damaged spirit down even further. Fortunately, she herself eventually spoke and said, "It seems that from among you, I am the more fortunate because nobody killed me. But I don't feel happy at all." She looked at we who had died. The dead who had been the first to meet her in the world of the living outside Razan. An old man in the group responded, "This is because you don't yet realize how beautiful, young, and healthy you are." Beeta smiled and her cheeks reddened by the light of the fire in silent emotion; and all of us who were dead saw how good the smile looked on her. But as she recalled dark memories, her smile faded and she said, "But the man who loved me simply turned his back on me and married a young girl." The middle-aged man said, "All the better! It means you were lovable enough but he wasn't smart enough to realize it.

Hamish Alexander-Harrington knew his wife as only two humans who had both been adopted by a pair of mated treecats ever could. He'd seen her deal with joy and with sorrow, with happiness and with fury, with fear, and even with despair. Yet in all the years since their very first meeting at Yeltsin's Star, he suddenly realized, he had never actually met the woman the newsies called "the Salamander." It wasn't his fault, a corner of his brain told him, because he'd never been in the right place to meet her. Never at the right time. He'd never had the chance to stand by her side as she took a wounded heavy cruiser on an unflinching deathride into the broadside of the battlecruiser waiting to kill it, sailing to her own death, and her crew's, to protect a planet full of strangers while the rich beauty of Hammerwell's "Salute to Spring" spilled from her ship's com system. He hadn't stood beside her on the dew-soaked grass of the Landing City duelling grounds, with a pistol in her hand and vengeance in her heart as she faced the man who'd bought the murder of her first great love. Just as he hadn't stood on the floor of Steadholders' Hall when she faced a man with thirty times her fencing experience across the razor-edged steel of their swords, with the ghosts of Reverend Julius Hanks, the butchered children of Mueller Steading, and her own murdered steaders at her back. But now, as he looked into the unyielding flint of his wife's beloved, almond eyes, he knew he'd met the Salamander at last. And he recognized her as only another warrior could. Yet he also knew in that moment that for all his own imposing record of victory in battle, he was not and never had been her equal. As a tactician and a strategist, yes. Even as a fleet commander. But not as the very embodiment of devastation. Not as the Salamander. Because for all the compassion and gentleness which were so much a part of her, there was something else inside Honor Alexander-Harrington, as well. Something he himself had never had. She'd told him, once, that her own temper frightened her. That she sometimes thought she could have been a monster under the wrong set of circumstances. And now, as he realized he'd finally met the monster, his heart twisted with sympathy and love, for at last he understood what she'd been trying to tell him. Understood why she'd bound it with the chains of duty, and love, of compassion and honor, of pity, because, in a way, she'd been right. Under the wrong circumstances, she could have been the most terrifying person he had ever met. In fact, at this moment, she was . It was a merciless something, her "monster"—something that went far beyond military talent, or skills, or even courage. Those things, he knew without conceit, he, too, possessed in plenty. But not that deeply personal something at the core of her, as unstoppable as Juggernaut, merciless and colder than space itself, that no sane human being would ever willingly rouse. In that instant her husband knew, with an icy shiver which somehow, perversely, only made him love her even more deeply, that as he gazed into those agate-hard eyes, he looked into the gates of Hell itself. And whatever anyone else might think, he knew now that there was no fire in Hell. There was only the handmaiden of death, and ice, and purpose, and a determination which would not— couldnot—relent or rest. "I'll miss them," she told him again, still with that dreadful softness, "but I won't forget. I'll never forget, and one day— oneday, Hamish—we're going to find the people who did this, you and I. And when we do, the only thing I'll ask of God is that He let them live long enough to know who's killing them.

Walk openly, Marian used to say. Love even the threat and the pain, feel yourself fully alive, cast a bold shadow, accept, accept. What we call evil is only a groping towards good, part of the trial and error by which we move toward the perfected consciousness… God is kind? Life is good? Nature never did betray the heart that loved her? Why the reward she received for living intensely and generously and trying to die with dignity? Why the horror at the bridge her last clear sight of earth?...I do not accept, I am not reconciled. But one thing she did. She taught me the stupidity of the attempt to withdraw and be free of trouble and harm... She said, “You wondered what was in whale’s milk. Now you know. Think of the force down there, just telling things to get born, just to be!” I had had no answer for her then. Now I might have one. Yes, think of it, I might say. And think how random and indiscriminate it is, think how helplessly we must submit, think how impossible it is to control or direct it. Think how often beauty and delicacy and grace are choked out by weeds. Think how endless and dubious is the progress from weed to flower. Even alive, she never convinced me with her advocacy of biological perfectionism. She never persuaded me to ignore, or look upon as merely hard pleasures, the evil that I felt in every blight and smut and pest in my garden- that I felt, for that matter, squatting like a toad on my own heart. Think of the force of life, yes, but think of the component of darkness in it. One of the things that’s in whale’s milk is the promise of pain and death. And so? Admitting what is so obvious, what then? Would I wipe Marion Catlin out of my unperfected consciousness if I could? Would I forgo the pleasure of her company to escape the bleakness of her loss? Would I go back to my own formula, which was twilight sleep, to evade the pain she brought with her? Not for a moment. And so even in the gnashing of my teeth, I acknowledge my conversion. It turns out to be for me as I once told her it would be for her daughter. I shall be richer all my life for this sorrow.

The Words of an Angel As I sit in a world of darkness I look around to see no one The cold wind has filled my soul The rivers have poured inside my body And the weight of the waters holds me back from seeing the light of day What should I do? I feel helpless, Paralyzed in my own fears And lost with no directions or roads to take Suddenly, a felt a laser of energy bolt though my body I yelled, “I’m so tired of feeling this way, I need help” Suddenly, gold light appeared And a man stood before me You foolish man, You choose this path the moment you chose to give up and wallow in your sorrows I cannot help you You need to help yourself. There are no rivers in your soul holding you back from light of the world The strength lies within you Look in my eyes and tell me what you see The lost man looked into the angels eyes and said, I see a man who gets his strength from helping others He does not waste time focusing on useless matters If you dig deep enough my child You will find precious gift inside yourself Gifts you never knew you had Learn from others Then help yourself Once you helped yourself Go out and help the world around you Because many people feel as you do The angel suddenly disappeared The lost man was no longer lost He was determined to waste no time He was going to use his time to help others Just as the angel helped him The man got up He realized the only thing holding him down was himself The room was no longer dark The light of life had entered Dig deep in yourself and lift yourself The answer to your problems lies within Use your gifts For the greatest gift is the gift of giving.

Gregori brought Savannah's hand to the warmth of his mouth,his breath heating the pulse beating in her wrist. The night is especially beautiful, mon petit amour.Your hero saved the girl, walks among humans, and converses with a fool.That alone should bring a smile to your face.Do not weep for what we cannot change.We will make certain that this human with us comes to no harm. Are you my hero,then? There were tears in her voice, in her mind, like an iridescent prism. She needed him, his comfort,his support under her terrible weight of guilt and love and loss. Always,for all eternity, he answered instantly,without hesitation, his eyes hot mercury. He tipped her chin up so that she met the brilliance of his silver gaze.Always, mon amour.His molten gaze trapped her blue one and held her enthralled. Your heart grows lighter.The burden of your sorrow becomes my own. He held her gaze captive for a few moments to ensure that she was free of the heaviness crushing her. Savannah blinked and moved a little away from him, wondering what she had been thinking of.What had they been talking about? "Gary." Gregori drawled the name slowly and sat back in his chair,totally relaxed. He looked like a sprawling tiger,dangerous and untamed. "Tell us about yourself." "I work a lot.I'm not married. I'm really not much of a people person. I'm basically a nerd." Gregori shifted, a subtle movement of muscles suggesting great power. "I am not familiar with this term." "Yeah,well,you wouldn't be," Gary said. "It means I have lots of brains and no brawn.I don't do the athlete thing. I'm into computers and chess and things requiring intellect. Women find me skinny,wimpy,and boring. Not something they would you." There was no bitterness in his voice,just a quiet acceptance of himself,his life. Gregori's white teeth flashed. "There is only one woman who matters to me, Gary, and she finds me difficult to live with.I cannot imagine why,can you?" "Maybe because you're jealous, possessive, concerned with every single detail of her life?" Gary plainly took the question literally, offering up his observations without judgement. "You're probably domineering,too. I can see that. Yeah.It might be tough." Savannah burst out laughing, the sound musical, rivaling the street musicians. People within hearing turned their heads and held their breath, hoping for more. "Very astute, Gary.Very, very astute. I bet you have an anormous IQ." Gregori stirred again, the movement a ripple of power,of danger. He was suddenly leaning into Gary. "You think you are intelligent? Baiting the wild animal is not too smart.

It doesn’t interest me what you do for a living. I want to know what you ache for and if you dare to dream of meeting your heart’s longing. It doesn’t interest me how old you are. I want to know if you will risk looking like a fool for love for your dream for the adventure of being alive. It doesn’t interest me what planets are squaring your moon... I want to know if you have touched the centre of your own sorrow if you have been opened by life’s betrayals or have become shrivelled and closed from fear of further pain. I want to know if you can sit with pain mine or your own without moving to hide it or fade it or fix it. I want to know if you can be with joy mine or your own if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful to be realistic to remember the limitations of being human. It doesn’t interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself. If you can bear the accusation of betrayal and not betray your own soul. If you can be faithless and therefore trustworthy. I want to know if you can see Beauty even when it is not pretty every day. And if you can source your own life from its presence. I want to know if you can live with failure yours and mine and still stand at the edge of the lake and shout to the silver of the full moon, “Yes.” It doesn’t interest me to know where you live or how much money you have. I want to know if you can get up after the night of grief and despair weary and bruised to the bone and do what needs to be done to feed the children. It doesn’t interest me who you know or how you came to be here. I want to know if you will stand in the centre of the fire with me and not shrink back. It doesn’t interest me where or what or with whom you have studied. I want to know what sustains you from the inside when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.

Never believe it, Hal. Never believe your own lies. Because superstition was a trap—that was what she had learned, in the years of plying her trade on the pier. Touching wood, crossing fingers, counting magpies—they were lies, all of them. False promises, designed to give the illusion of control and meaning in a world in which the only destiny came from yourself. You can’t predict the future, Hal, her mother had reminded her, time and time again. You can’t influence fate, or change what’s out of your control. But you can choose what you yourself do with the cards you’re dealt. That was the truth, Hal knew. The painful, uncompromising truth. It was what she wanted to shout at clients, at the ones who came back again and again looking for answers that she could not give. There is no higher meaning. Sometimes things happen for no reason. Fate is cruel, and arbitrary. Touching wood, lucky charms, none of it will help you see the car you never saw coming, or avoid the tumor you didn’t realize you had. Quite the opposite, in fact. For in that moment that you turn your head to look for the second magpie, in the hope of changing your fortune from sorrow to joy—that’s when you take your attention away from the things you can change, the crossing light, the speeding car, the moment you should have turned back. The people who came to her booth were seeking meaning and control—but they were looking in the wrong place. When they gave themselves over to superstition, they were giving up on shaping their own destiny.

Minho had gotten to his feet, and he came over to help Thomas stand. “My shuck brain can’t spend one more second thinking. Just let her do whatever she wants. Come one.” “Good that,” Thomas said. The two of them then looked at each other for a long moment, catching their breath, somehow reliving in those few seconds all the things they’d gone through, all the death, all the pain. And mixed in there was relief, that maybe – just maybe – it was all over. But mostly Thomas felt the pain of loss. Watching Teresa die – to save his life – had been almost too much to bear. Now, staring at the person who’d become his true best friend, he had to fight back the tears. In that moment, he swore to never tell Minho about what he’d done to Newt. “Good that for sure, shuck-face,” Minho finally replied. But his trademark smirk was missing. Instead was a look that said to Thomas he understood. And that they’d both carry the sorrow of their loss for the rest of their lives.

DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was; but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveler upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled luster by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodeled and inverted images of the gray sedge, and the ghastly tree stems, and the vacant and eye-like windows.

Looking back into childhood is like turning a telescope the wrong way around. Everything appears in miniature, but with a clarity it probably does not deserve; moreover it has become concentrated and stylized, taking shape in symbolism. Thus it is that I sometimes see my infant self as having been set down before a blank slate on which to construct a map or schema of the external world, and as hesitantly beginning to sketch it, with many false starts and much rubbing-out, the anatomy of my universe. Happiness and sorrow, love and friendship, hostility, a sense of guilt and more abstract concepts still, must all find a place somewhere, much as an architect lays out the plan of a house he is designing - hall, dining-room and bedrooms - but must not forget the bathroom. In a child’s map, too, some of the rooms are connected by a serving-hatch, while others are sealed off behind baize doors. How can the fragments possibly be combined to make sense? Yet this map or finished diagram, constructed in the course of ten or twelve years’ puzzling, refuses to be ignored, and for some time to come will make itself felt as bones through flesh, to emerge as the complex organism which adults think of as their philosophy of life. Presumably it has its origins in both heredity and enviorment. So with heredity I shall begin.

We are thankful to come here for rest, sir," said Jenny. "You see, you don't know what the rest of this place is to us; does he, Lizzie? It's the quiet, and the air." "The quiet!" repeated Fledgeby, with a contemptuous turn of his head towards the City's roar. "And the air!" with a "Poof!" at the smoke. "Ah!" said Jenny. "But it's so high. And you see the clouds rushing on above the narrow streets, not minding them, and you see the golden arrows pointing at the mountains in the sky from which the wind comes, and you feel as if you were dead." The little creature looked above her, holding up her slight transparent hand. "How do you feel when you are dead?" asked Fledgeby, much perplexed. "Oh, so tranquil!" cried the little creature, smiling. "Oh, so peaceful and so thankful! And you hear the people who are alive, crying, and working, and calling to one another down in the close dark streets, and you seem to pity them so! And such a chain has fallen from you, and such a strange good sorrowful happiness comes upon you!" Her eyes fell on the old man, who, with his hands folded, quietly looked on. "Why it was only just now," said the little creature, pointing at him, "that I fancied I saw him come out of his grave! He toiled out at that low door so bent and worn, and then he took his breath and stood upright, and looked all round him at the sky, and the wind blew upon him, and his life down in the dark was over!—Till he was called back to life," she added, looking round at Fledgeby with that lower look of sharpness. "Why did you call him back?" "He was long enough coming, anyhow," grumbled Fledgeby. "But you are not dead, you know," said Jenny Wren. "Get down to life!" Mr Fledgeby seemed to think it rather a good suggestion, and with a nod turned round. As Riah followed to attend him down the stairs, the little creature called out to the Jew in a silvery tone, "Don't be long gone. Come back, and be dead!" And still as they went down they heard the little sweet voice, more and more faintly, half calling and half singing, "Come back and be dead, Come back and be dead!

Never believe it, Hal. Never believe your own lies. Because superstition was a trap—that was what she had learned, in the years of plying her trade on the pier. Touching wood, crossing fingers, counting magpies—they were lies, all of them. False promises, designed to give the illusion of control and meaning in a world in which the only destiny came from yourself. You can’t predict the future, Hal, her mother had reminded her, time and time again. You can’t influence fate, or change what’s out of your control. But you can choose what you yourself do with the cards you’re dealt. That was the truth, Hal knew. The painful, uncompromising truth. It was what she wanted to shout at clients, at the ones who came back again and again looking for answers that she could not give. There is no higher meaning. Sometimes things happen for no reason. Fate is cruel, and arbitrary. Touching wood, lucky charms, none of it will help you see the car you never saw coming, or avoid the tumor you didn’t realize you had. Quite the opposite, in fact. For in that moment that you turn your head to look for the second magpie, in the hope of changing your fortune from sorrow to joy—that’s when you take your attention away from the things you can change, the crossing light, the speeding car, the moment you should have turned back. The people who came to her booth were seeking meaning and control—but they were looking in the wrong place. When they

If after I am free a friend of mine gave a feast, and did not invite me to it, I should not mind a bit. I can be perfectly happy by myself. With freedom, flowers, books, and the moon, who could not be perfectly happy? Besides, feasts are not for me any more. I have given too many to care about them. That side of life is over for me, very fortunately, I dare say. But if after I am free a friend of mine had a sorrow and refused to allow me to share it, I should feel it most bitterly. If he shut the doors of the house of mourning against me, I would come back again and again and beg to be admitted, so that I might share in what I was entitled to share in. If he thought me unworthy, unfit to weep with him, I should feel it as the most poignant humiliation, as the most terrible mode in which disgrace could be inflicted on me. But that could not be. I have a right to share in sorrow, and he who can look at the loveliness of the world and share its sorrow, and realise something of the wonder of both, is in immediate contact with divine things, and has got as near to God’s secret as any one can get.

She locked herself in her room. She needed time to get used to her maimed consciousness, her poor lopped life, before she could walk steadily to the place allotted her. A new searching light had fallen on her husband's character, and she could not judge him leniently: the twenty years in which she had believed in him and venerated him by virtue of his concealments came back with particulars that made them seem an odious deceit. He had married her with that bad past life hidden behind him, and she had no faith left to protest his innocence of the worst that was imputed to him. Her honest ostentatious nature made the sharing of a merited dishonor as bitter as it could be to any mortal. But this imperfectly taught woman, whose phrases and habits were an odd patchwork, had a loyal spirit within her. The man whose prosperity she had shared through nearly half a life, and who had unvaryingly cherished her—now that punishment had befallen him it was not possible to her in any sense to forsake him. There is a forsaking which still sits at the same board and lies on the same couch with the forsaken soul, withering it the more by unloving proximity. She knew, when she locked her door, that she should unlock it ready to go down to her unhappy husband and espouse his sorrow, and say of his guilt, I will mourn and not reproach. But she needed time to gather up her strength; she needed to sob out her farewell to all the gladness and pride of her life. When she had resolved to go down, she prepared herself by some little acts which might seem mere folly to a hard onlooker; they were her way of expressing to all spectators visible or invisible that she had begun a new life in which she embraced humiliation. She took off all her ornaments and put on a plain black gown, and instead of wearing her much-adorned cap and large bows of hair, she brushed her hair down and put on a plain bonnet-cap, which made her look suddenly like an early Methodist. Bulstrode, who knew that his wife had been out and had come in saying that she was not well, had spent the time in an agitation equal to hers. He had looked forward to her learning the truth from others, and had acquiesced in that probability, as something easier to him than any confession. But now that he imagined the moment of her knowledge come, he awaited the result in anguish. His daughters had been obliged to consent to leave him, and though he had allowed some food to be brought to him, he had not touched it. He felt himself perishing slowly in unpitied misery. Perhaps he should never see his wife's face with affection in it again. And if he turned to God there seemed to be no answer but the pressure of retribution. It was eight o'clock in the evening before the door opened and his wife entered. He dared not look up at her. He sat with his eyes bent down, and as she went towards him she thought he looked smaller—he seemed so withered and shrunken. A movement of new compassion and old tenderness went through her like a great wave, and putting one hand on his which rested on the arm of the chair, and the other on his shoulder, she said, solemnly but kindly— "Look up, Nicholas." He raised his eyes with a little start and looked at her half amazed for a moment: her pale face, her changed, mourning dress, the trembling about her mouth, all said, "I know;" and her hands and eyes rested gently on him. He burst out crying and they cried together, she sitting at his side. They could not yet speak to each other of the shame which she was bearing with him, or of the acts which had brought it down on them. His confession was silent, and her promise of faithfulness was silent. Open-minded as she was, she nevertheless shrank from the words which would have expressed their mutual consciousness, as she would have shrunk from flakes of fire. She could not say, "How much is only slander and false suspicion?" and he did not say, "I am innocent.

And numerous indeed are the hearts to which Christmas brings a brief season of happiness and enjoyment. How many families, whose members have been dispersed and scattered far and wide, in the restless struggles of life, are then reunited, and meet once again in that happy state of companionship and mutual goodwill, which is a source of such pure and unalloyed delight; and one so incompatible with the cares and sorrows of the world, that the religious belief of the most civilised nations, and the rude traditions of the roughest savages, alike number it among the first joys of a future condition of existence, provided for the blessed and happy! How many old recollections, and how many dormant sympathies, does Christmas time awaken! We write these words now, many miles distant from the spot at which, year after year, we met on that day, a merry and joyous circle. Many of the hearts that throbbed so gaily then, have ceased to beat; many of the looks that shone so brightly then, have ceased to glow; the hands we grasped, have grown cold; the eyes we sought, have hid their lustre in the grave; and yet the old house, the room, the merry voices and smiling faces, the jest, the laugh, the most minute and trivial circumstances connected with those happy meetings, crowd upon our mind at each recurrence of the season, as if the last assemblage had been but yesterday! Happy, happy Christmas, that can win us back to the delusions of our childish days; that can recall to the old man the pleasures of his youth; that can transport the sailor and the traveller, thousands of miles away, back to his own fireside and his quiet home!

I can understand the ignorant masses loving to soak themselves in drink—oh, yes, it's very shocking that they should, of course—very shocking to us who live in cozy homes, with all the graces and pleasures of life around us, that the dwellers in damp cellars and windy attics should creep from their dens of misery into the warmth and glare of the public-house bar, and seek to float for a brief space away from their dull world upon a Lethe stream of gin. But think, before you hold up your hands in horror at their ill-living, what "life" for these wretched creatures really means. Picture the squalid misery of their brutish existence, dragged on from year to year in the narrow, noisome room where, huddled like vermin in sewers, they welter, and sicken, and sleep; where dirt-grimed children scream and fight and sluttish, shrill-voiced women cuff, and curse, and nag; where the street outside teems with roaring filth and the house around is a bedlam of riot and stench. Think what a sapless stick this fair flower of life must be to them, devoid of mind and soul. The horse in his stall scents the sweet hay and munches the ripe corn contentedly. The watch-dog in his kennel blinks at the grateful sun, dreams of a glorious chase over the dewy fields, and wakes with a yelp of gladness to greet a caressing hand. But the clod-like life of these human logs never knows one ray of light. From the hour when they crawl from their comfortless bed to the hour when they lounge back into it again they never live one moment of real life. Recreation, amusement, companionship, they know not the meaning of. Joy, sorrow, laughter, tears, love, friendship, longing, despair, are idle words to them. From the day when their baby eyes first look out upon their sordid world to the day when, with an oath, they close them forever and their bones are shoveled out of sight, they never warm to one touch of human sympathy, never thrill to a single thought, never start to a single hope. In the name of the God of mercy; let them pour the maddening liquor down their throats and feel for one brief moment that they live!

Hold thy desperate hand: Art thou a man? thy form cries out thou art: Thy tears are womanish; thy wild acts denote The unreasonable fury of a beast: Unseemly woman in a seeming man! Or ill-beseeming beast in seeming both! Thou hast amazed me: by my holy order, I thought thy disposition better temper’d. Hast thou slain Tybalt? wilt thou slay thyself? And stay thy lady too that lives in thee, By doing damned hate upon thyself? Why rail’st thou on thy birth, the heaven, and earth? Since birth, and heaven, and earth, all three do meet In thee at once; which thou at once wouldst lose. Fie, fie, thou shamest thy shape, thy love, thy wit; Which, like a usurer, abound’st in all, And usest none in that true use indeed Which should bedeck thy shape, thy love, thy wit: Thy noble shape is but a form of wax, Digressing from the valour of a man; Thy dear love sworn but hollow perjury, Killing that love which thou hast vow’d to cherish; Thy wit, that ornament to shape and love, Misshapen in the conduct of them both, Like powder in a skitless soldier’s flask, Is set afire by thine own ignorance, And thou dismember’d with thine own defence. What, rouse thee, man! thy Juliet is alive, For whose dear sake thou wast but lately dead; There art thou happy: Tybalt would kill thee, But thou slew’st Tybalt; there are thou happy too: The law that threaten’d death becomes thy friend And turns it to exile; there art thou happy: A pack of blessings lights up upon thy back; Happiness courts thee in her best array; But, like a misbehaved and sullen wench, Thou pout’st upon thy fortune and thy love: Take heed, take heed, for such die miserable. Go, get thee to thy love, as was decreed, Ascend her chamber, hence and comfort her: But look thou stay not till the watch be set, For then thou canst not pass to Mantua; Where thou shalt live, till we can find a time To blaze your marriage, reconcile your friends, Beg pardon of the prince, and call thee back With twenty hundred thousand times more joy Than thou went’st forth in lamentation. Go before, nurse: commend me to thy lady; And bid her hasten all the house to bed, Which heavy sorrow makes them apt unto: Romeo is coming.

The word for teardrinkers is lachryphagous, and for the eaters of human flesh it is anthropophagous, and the rest of us feed on sorrow all the time. It is the essence of many of the most beautiful ballads and pop songs, and why sorrow and heartbreak are so delicious might have to do with the emotions it stirs in us, the empathy for others' suffering, and the small comfort of not being alone with our own. With a sad song we feel a delicate grief, as though we mourn for three minutes a loss we can't remember but taste again, sorrow like salt tears, and then close it up like a letter in the final notes. Sadness the blue like dusk, the reminder that all things are emphemeral, and that because there is time there is change and that is another name for change, if you look back toward what is vanishing in the distance, is loss. But sadness is also beautiful, maybe because it rings so true and goes so deep, because it is about the distances in our lives, the things we lose, the abyss between what the lover and the beloved want and imagine and understand that may widen to become unbridgeable any moment, the distance between the hope at the onset and the eventual outcome, the journeys we have to travel, including the last one out of being and on past becoming into the unimaginable: the moth flown into the pure dark.

The guy smiled at me, and I glanced at him again just in time to look directly into his eyes. My mistake. Sight was a common Talent, but my magic went beyond seeing the world with crystal clarity or being able to navigate through the dark like it was daylight. Because I could also see into people. All I had to do was stare into someone’s eyes, and I knew exactly what they were feeling at that moment, whether it was love, hate, anger, or something else. Not only that, but I could actually feel the emotion in my own heart, just like the person who was experiencing it. Soulsight, it was called. A major Talent and one that I could have done without. Most people didn’t have a lot of nice thoughts, feelings, or emotions, not even toward their own so-called friends and family. But this guy . . . he radiated cold sorrow, as though he was carrying around a heavy burden that he could never, ever be free from. Still, there was a rock-hard strength mixed in with his sorrow, along with a flicker of something else buried deep, deep down . . . a hot spark that I couldn’t quite identify. I knew in an instant that he was the sort of guy who was exceedingly loyal to his friends. Who felt responsible for others. Who tried to help people as much as he could even if they didn’t deserve it, and he ended up being the one who got hurt instead. The sort of guy that others saw as a leader and naturally flocked to. The sort of guy who was just so disgustingly fascinating that you couldn’t help wanting to know more about him. The guy kept smiling, although his expression grew thinner and fainter the longer I stared. But I couldn’t help it. For the first time in a long time, I was completely captivated by another person. In that moment, all I wanted to do was peel back the cool exterior of his emotions and see what really lay beneath—and especially see what would happen when that hot spark inside him flared to life and he finally let out his true feelings. But there was also something disturbingly . . . familiar about him. As though I’d met him someplace before, although I couldn’t quite remember where. I kept staring into his green eyes, hoping that my soulsight would kick in a tiny bit more and bring the knowledge, the memory, along with it . . .

He then said something in Arabic to Ali, who made a sign of obedience and withdrew, but not to any distance. As to Franz a strange transformation had taken place in him. All the bodily fatigue of the day, all the preoccupation of mind which the events of the evening had brought on, disappeared as they do at the first approach of sleep, when we are still sufficiently conscious to be aware of the coming of slumber. His body seemed to acquire an airy lightness, his perception brightened in a remarkable manner, his senses seemed to redouble their power, the horizon continued to expand; but it was not the gloomy horizon of vague alarms, and which he had seen before he slept, but a blue, transparent, unbounded horizon, with all the blue of the ocean, all the spangles of the sun, all the perfumes of the summer breeze; then, in the midst of the songs of his sailors, -- songs so clear and sonorous, that they would have made a divine harmony had their notes been taken down, -- he saw the Island of Monte Cristo, no longer as a threatening rock in the midst of the waves, but as an oasis in the desert; then, as his boat drew nearer, the songs became louder, for an enchanting and mysterious harmony rose to heaven, as if some Loreley had decreed to attract a soul thither, or Amphion, the enchanter, intended there to build a city. At length the boat touched the shore, but without effort, without shock, as lips touch lips; and he entered the grotto amidst continued strains of most delicious melody. He descended, or rather seemed to descend, several steps, inhaling the fresh and balmy air, like that which may be supposed to reign around the grotto of Circe, formed from such perfumes as set the mind a dreaming, and such fires as burn the very senses; and he saw again all he had seen before his sleep, from Sinbad, his singular host, to Ali, the mute attendant; then all seemed to fade away and become confused before his eyes, like the last shadows of the magic lantern before it is extinguished, and he was again in the chamber of statues, lighted only by one of those pale and antique lamps which watch in the dead of the night over the sleep of pleasure. They were the same statues, rich in form, in attraction, and poesy, with eyes of fascination, smiles of love, and bright and flowing hair. They were Phryne, Cleopatra, Messalina, those three celebrated courtesans. Then among them glided like a pure ray, like a Christian angel in the midst of Olympus, one of those chaste figures, those calm shadows, those soft visions, which seemed to veil its virgin brow before these marble wantons. Then the three statues advanced towards him with looks of love, and approached the couch on which he was reposing, their feet hidden in their long white tunics, their throats bare, hair flowing like waves, and assuming attitudes which the gods could not resist, but which saints withstood, and looks inflexible and ardent like those with which the serpent charms the bird; and then he gave way before looks that held him in a torturing grasp and delighted his senses as with a voluptuous kiss. It seemed to Franz that he closed his eyes, and in a last look about him saw the vision of modesty completely veiled; and then followed a dream of passion like that promised by the Prophet to the elect. Lips of stone turned to flame, breasts of ice became like heated lava, so that to Franz, yielding for the first time to the sway of the drug, love was a sorrow and voluptuousness a torture, as burning mouths were pressed to his thirsty lips, and he was held in cool serpent-like embraces. The more he strove against this unhallowed passion the more his senses yielded to its thrall, and at length, weary of a struggle that taxed his very soul, he gave way and sank back breathless and exhausted beneath the kisses of these marble goddesses, and the enchantment of his marvellous dream.

You were born with your head in the clouds, your future wide open, feeling almost weightless. Almost. Kudoclasm. You had dreams even before you had memories: a cloud of fantasies and ambitions of secret plans and hidden potential, visions of who you are, and what your life will be. They keep your spirits high, floating somewhere above your life, where the world looks faintly hypothetical, almost translucent. But every time you reach for the sky and come away with nothing, you start to wonder what’s holding them up. “Surely it would have happened by now?!” You feel time starting to slip, pulling you back down to earth. even as you tell yourself, don’t look down. You don’t have the luxury of floating through life, because you may not have the time. The future is already rushing toward you, and it’s not as far away as you think. It feels like your life is flashing before your eyes, but it’s actually just the opposite: you’re thinking forward, to everything you still haven’t done, the places you had intended to visit, the life goals you’d eventually get around to, some day in the future. You start dropping your delusions one by one, like tossing ballast overboard. And soon the fog lifts, and everything becomes clear— right until the moment your feet touch the ground. And there it is, “the real world.” As if you’ve finally grown up, steeped in reality, your eyes adjusting to the darkness, seeing the world for what it is. But in truth, you don’t belong there. We dream to survive— no more optional than breathing. Maybe “the real world” is just another fantasy, something heavy to push back against, and launch ourselves still higher. We’re all afraid to let go, of falling into a bottomless future. But maybe we belong in the air, tumbling in the wind. Maybe it’s only when you dive in that you pick up enough speed to shape the flow of reality, and choose your own course, flying not too high, and not too low, but gliding from one to the other in long playful loops. To dream big, and bounce ideas against the world and rise again. Moving so fast, you can’t tell where the dream ends and where the world begins.

The soldiers were already laying pikes along the wall by torch-light, with the points bristling upwards; they had draped cloaks over the poles to make small tents to sleep under. A few of them were sitting around small campfires, soaking dried meat in boiling water, stirring kasha into the broth to cook up. They cleared hastily out of our way without our even having to say a word, afraid. Sarkan seemed not to notice, but I couldn’t help feeling sorry and strange and wrong. One of the soldiers was a boy my own age, industriously sharpening pike-heads one by one with a stone, skillfully: six strokes for each one and done as quick as the two men putting them along the wall could come back for them. He must have put himself to it, to learn how to do it so well. He didn’t look sullen or unhappy. He’d chosen to go for a soldier. Maybe he had a story that began that way: a poor widowed mother at home and three young sisters to feed, and a girl from down the lane who smiled at him over the fence as she drove her father’s herd out into the meadows every morning. So he’d given his mother his signing-money and gone to make his fortune. He worked hard; he meant to be a corporal soon, and after that a sergeant: he’d go home then in his fine uniform, and put silver in his mother’s hands, and ask the smiling girl to marry him. Or maybe he’d lose a leg, and go home sorrowful and bitter to find her married to a man who could farm; or maybe he’d take to drink to forget that he’d killed men in trying to make himself rich. That was a story, too; they all had stories. They had mothers or fathers, sisters or lovers. They weren’t alone in the world, mattering to no one but themselves.

They were living to themselves: self, with its hopes, and promises, and dreams, still had hold of them; but the Lord began to fulfill their prayers. They had asked for contrition, and He sent them sorrow; they had asked for purity, and He sent them thrilling anguish; they had asked to be meek, and He had broken their hearts; they has asked to be dead to the world, and He slew all their living hopes; they had asked to be made like unto Him, and He placed them in the furnace, sitting by "as a refiner of silver," till they should reflect His image; they had asked to lay hold of His cross, and when He had reached it out to them, it lacerated their hands. They had asked they knew not what, nor how; but He had taken them at their word, and granted them all their petitions. They were hardly willing to follow so far, or to draw so nigh to Him. They had upon them an awe and fear, as Jacob at Bethel, or Eliphaz in the night visions, or as the apostles when they thought they had seen the spirit, and knew not that it was Jesus. They could almost pray Him to depart from them, or to hide His awefulness. They found it easier to obey than to suffer--to do than to give up--to bear the cross than to hang upon it: but they cannot go back, for they have come too near the unseen cross, and its virtues have pierced too deeply within them. He is fulfilling to them his promise, "And I, if I be lifted up, will draw all men unto me. But now, at last, their turn is come. Before, they had only heard of the mystery, but now they feel it. He has fastened on them His look of love, as He did on Mary and Peter, and they cannot but choose to follow. Little by little, from time to time, by flitting gleams the mystery of His cross shines upon them. They behold Him lifted up--they gaze upon the glory which rays forth from the wound of His holy passion; and as they gaze, they advance, and are changed into His likeness, and His name shines out through them, for he dwells in them. They live alone with Him above, in unspeakable fellowship; willing to lack what others own, and to be unlike all, so that they are only like him. "Such are they in all ages who follow the Lamb whithersoever He goeth. Had they chosen for themselves, or their friends chosen for them, they would have chosen otherwise. They would have been brighter here, but less glorious in His kingdom. They would have had Lot's portion, not Abraham's. If they had halted anywhere--if He had taken off His hand, and let them stray back--what would they have lost? What forfeits in the morning of the resurrection? But He stayed them up, even against themselves. Many a time their foot had well-nigh slipped; but He, in mercy, held them up; now, even in this life, they know all he did was done well. It was good for them to suffer here, for they shall reign hereafter--to bear the cross below, for they shall wear the crown above; and that not their will but His was done on them.

A war always comes to someone else. In Salinas we were aware that the United States was the greatest and most powerful nation in the world. Every American was a rifleman by birth, and one American was worth ten or twenty foreigners in a fight. Pershing’s expedition into Mexico after Villa had exploded one of our myths for a little while. We had truly believed that Mexicans can’t shoot straight and besides were lazy and stupid. When our own Troop C came wearily back from the border they said that none of this was true […] Somehow we didn’t connect Germans with Mexicans. We went right back to our own myths. One American was as good as twenty Germans. This being true, we had only to act in a stern manner to bring the Kaiser to heel. He wouldn’t dare interfere with our trade--but he did. He wouldn’t stick out his neck and and sink our ships--and he did. It was stupid, but he did, and so there was nothing for it but to fight him. The war, at first anyway, was for other people. We, I, my family and friends, had kind of bleacher seats, and it was pretty exciting. And just as war is always for somebody else, so it is also that somebody else always gets killed. And Mother of God! that wasn’t true either. The dreadful telegrams began to sneak sorrowfully in, and it was everybody’s brother. Here we were, over six thousand miles from the anger and the noise, and that didn’t save us […] The draftees wouldn’t look at their mothers. They didn’t dare. We’d never thought the war could happen to us. There were some in Salinas who began to talk softly in the poolrooms and the bars. These had private information from a soldier--we weren’t getting the truth. Our men were being sent in without guns. Troopships were sunk and the government wouldn’t tell us. The German army was so far superior to ours that we didn’t have a chance. That Kaiser was a smart fellow. He was getting ready to invade America. But would Wilson tell us this? He would not. And usually these carrion talkers were the same ones who had said one American was worth twenty Germans in a scrap--the same ones.

Kids didn’t just disappear unless someone made them disappear.‘Relax, mate,’ the head of security said. ‘We’ve never lost one yet.’ Lots of kids wandered off at the Easter Show, he told them. They were always found, usually somewhere near the food.Doug had tried to relax, to stay calm, but he could feel the panic building inside him.The place was too big.There were too many people.Lockie could be anywhere. The police were called. It took hours for everyone to leave the showgrounds because every family was stopped. Every parent was questioned and every child identified. It was way past midnight when everyone had finally gone home, and still they had not found Lockie.The head of security changed his tone. The police held whispered conversations in groups. They began to look at him with sympathy in their eyes.Doug felt his heart slow down. There was a ringing in his ears. He was underwater and he couldn’t swim.Lockie was gone.They had lost one.Sammy had gone from impatience to hunger to exhaustion. She didn’t understand what was happening.Sarah sat next to the pram twisting her hands. She did not cry. She didn’t cry for days, but every time Doug went near her he could hear her muttering the word ‘please’. ‘Please, please, please, please.’ It drove Doug mad and he had to move away because he wanted to hit her, to snap her out of her trance. He had never lifted a hand to his wife or his children, but now he had to close his fist and dig his nails into his palm to keep himself from lashing out Sarah didn’t believe in hitting children; she believed in time out and consequences. It was different to the way Doug had been raised but he had come around to the idea. The thought of anyone—especially himself—hurting Sarah and the kids was almost too much to bear.Doug sometimes wondered, after, if whoever had taken his son had hit him. When he did think about someone hurting his boy he could feel his hands curl into fists. He would embrace the rush of heat that came with the anger because at least it was a different feeling to the sorrow and despair. Anger felt constructive. He wanted to kill everyone, even himself. But as fast as the anger came it would recede and he would be back at the place he hated to be. Mired in his own helplessness. There was fuck-all he could do.

Though all the brilliant intellects of the ages were to concentrate upon this one theme, never could they adequately express their wonder at this dense darkness of the human mind. Men do not suffer anyone to seize their estates, and they rush to stones and arms if there is even the slightest dispute about the limit of their lands, yet they allow others to trespass upon their life—nay, they themselves even lead in those who will eventually possess it. No one is to be found who is willing to distribute his money, yet among how many does each one of us distribute his life! In guarding their fortune men are often closefisted, yet, when it comes to the matter of wasting time, in the case of the one thing in which it is right to be miserly, they show themselves most prodigal. And so I should like to lay hold upon someone from the company of older men and say: "I see that you have reached the farthest limit of human life, you are pressing hard upon your hundredth year, or are even beyond it; come now, recall your life and make a reckoning. Consider how much of your time was taken up with a moneylender, how much with a mistress, how much with a patron, how much with a client, how much in wrangling with your wife, how much in punishing your slaves, how much in rushing about the city on social duties. Add the diseases which we have caused by our own acts, add, too, the time that has lain idle and unused; you will see that you have fewer years to your credit than you count. Look back in memory and consider when you ever had a fixed plan, how few days have passed as you had intended, when you were ever at your own disposal, when your face ever wore its natural expression, when your mind was ever unperturbed, what work you have achieved in so long a life, how many have robbed you of life when you were not aware of what you were losing, how much was taken up in useless sorrow, in foolish joy, in greedy desire, in the allurements of society, how little of yourself was left to you; you will perceive that you are dying before your season!"7 What, then, is the reason of this? You live as if you were destined to live forever, no thought of your frailty ever enters your head, of how much time has already gone by you take no heed. You squander time as if you drew from a full and abundant supply, though all the while that day which you bestow on some person or thing is perhaps your last. You have all the fears of mortals and all the desires of immortals. You will hear many men saying: "After my fiftieth year I shall retire into leisure, my sixtieth year shall release me from public duties." And what guarantee, pray, have you that your life will last longer? Who will suffer your course to be just as you plan it? Are you not ashamed to reserve for yourself only the remnant of life, and to set apart for wisdom only that time which cannot be devoted to any business? How late it is to begin to live just when we must cease to live! What foolish forgetfulness of mortality to postpone wholesome plans to the fiftieth and sixtieth year, and to intend to begin life at a point to which few have attained!

Little Sleep's-Head Sprouting Hair in the Moonlight 1 You scream, waking from a nightmare. When I sleepwalk into your room, and pick you up, and hold you up in the moonlight, you cling to me hard, as if clinging could save us. I think you think I will never die, I think I exude to you the permanence of smoke or stars, even as my broken arms heal themselves around you. 2 I have heard you tell the sun, don't go down, I have stood by as you told the flower, don't grow old, don't die. Little Maud, I would blow the flame out of your silver cup, I would suck the rot from your fingernail, I would brush your sprouting hair of the dying light, I would scrape the rust off your ivory bones, I would help death escape through the little ribs of your body, I would alchemize the ashes of your cradle back into wood, I would let nothing of you go, ever, until washerwomen feel the clothes fall asleep in their hands, and hens scratch their spell across hatchet blades, and rats walk away from the culture of the plague, and iron twists weapons toward truth north, and grease refuse to slide in the machinery of progress, and men feel as free on earth as fleas on the bodies of men, and the widow still whispers to the presence no longer beside her in the dark. And yet perhaps this is the reason you cry, this the nightmare you wake screaming from: being forever in the pre-trembling of a house that falls. 3 In a restaurant once, everyone quietly eating, you clambered up on my lap: to all the mouthfuls rising toward all the mouths, at the top of your voice you cried your one word, caca! caca! caca! and each spoonful stopped, a moment, in midair, in its withering steam. Yes, you cling because I, like you, only sooner than you, will go down the path of vanished alphabets, the roadlessness to the other side of the darkness, your arms like the shoes left behind, like the adjectives in the halting speech of old folk, which once could call up the lost nouns. 4 And you yourself, some impossible Tuesday in the year Two Thousand and Nine, will walk out among the black stones of the field, in the rain, and the stones saying over their one word, ci-gît, ci-gît, ci-gît, and the raindrops hitting you on the fontanel over and over, and you standing there unable to let them in. 5 If one day it happens you find yourself with someone you love in a café at one end of the Pont Mirabeau, at the zinc bar where wine takes the shapes of upward opening glasses, and if you commit then, as we did, the error of thinking, one day all this will only be memory, learn to reach deeper into the sorrows to come—to touch the almost imaginary bones under the face, to hear under the laughter the wind crying across the black stones. Kiss the mouth that tells you, here, here is the world. This mouth. This laughter. These temple bones. The still undanced cadence of vanishing. 6 In the light the moon sends back, I can see in your eyes the hand that waved once in my father's eyes, a tiny kite wobbling far up in the twilight of his last look: and the angel of all mortal things lets go the string. 7 Back you go, into your crib. The last blackbird lights up his gold wings: farewell. Your eyes close inside your head, in sleep. Already in your dreams the hours begin to sing. Little sleep's-head sprouting hair in the moonlight, when I come back we will go out together, we will walk out together among the ten thousand things, each scratched in time with such knowledge, the wages of dying is love.

In attunement, it is the infant who leads and the mother who follows. “Where their roles differ is in the timing of their responses,” writes John Bowlby, one of the century’s great psychiatric researchers. The infant initiates the interaction or withdraws from it according to his own rhythms, Bowlby found, while the “mother regulates her behaviour so that it meshes with his... Thus she lets him call the tune and by a skillful interweaving of her own responses with his creates a dialogue.” The tense or depressed mothering adult will not be able to accompany the infant into relaxed, happy spaces. He may also not fully pick up signs of the infant’s emotional distress, or may not be able to respond to them as effectively as he would wish. The ADD child’s difficulty reading social cues likely originates from her relationship cues not being read by the nurturing adult, who was distracted by stress. In the attunement interaction, not only does the mother follow the child, but she also permits the child to temporarily interrupt contact. When the interaction reaches a certain stage of intensity for the infant, he will look away to avoid an uncomfortably high level of arousal. Another interaction will then begin. A mother who is anxious may react with alarm when the infant breaks off contact, may try to stimulate him, to draw him back into the interaction. Then the infant’s nervous system is not allowed to “cool down,” and the attunement relationship is hampered. Infants whose caregivers were too stressed, for whatever reason, to give them the necessary attunement contact will grow up with a chronic tendency to feel alone with their emotions, to have a sense — rightly or wrongly — that no one can share how they feel, that no one can “understand.” Attunement is the quintessential component of a larger process, called attachment. Attachment is simply our need to be close to somebody. It represents the absolute need of the utterly and helplessly vulnerable human infant for secure closeness with at least one nourishing, protective and constantly available parenting figure. Essential for survival, the drive for attachment is part of the very nature of warm-blooded animals in infancy, especially. of mammals. In human beings, attachment is a driving force of behavior for longer than in any other animal. For most of us it is present throughout our lives, although we may transfer our attachment need from one person — our parent — to another — say, a spouse or even a child. We may also attempt to satisfy the lack of the human contact we crave by various other means, such as addictions, for example, or perhaps fanatical religiosity or the virtual reality of the Internet. Much of popular culture, from novels to movies to rock or country music, expresses nothing but the joys or the sorrows flowing from satisfactions or disappointments in our attachment relationships. Most parents extend to their children some mixture of loving and hurtful behavior, of wise parenting and unskillful, clumsy parenting. The proportions vary from family to family, from parent to parent. Those ADD children whose needs for warm parental contact are most frustrated grow up to be adults with the most severe cases of ADD. Already at only a few months of age, an infant will register by facial expression his dejection at the mother’s unconscious emotional withdrawal, despite the mother’s continued physical presence. “(The infant) takes delight in Mommy’s attention,” writes Stanley Greenspan, “and knows when that source of delight is missing. If Mom becomes preoccupied or distracted while playing with the baby, sadness or dismay settles in on the little face.

her power now that she had lost the hair. So when the bride had finished drinking, and would have got upon Falada again, the maid said, "I shall ride upon Falada, and you may have my horse instead;" so she was forced to give up her horse, and soon afterwards to take off her royal clothes, and put on her maid's shabby ones. At last, as they drew near the end of the journey, this treacherous servant threatened to kill her mistress if she ever told anyone what had happened. But Falada saw it all, and marked it well. Then the waiting-maid got upon Falada, and the real bride was set upon the other horse, and they went on in this way till at last they came to the royal court. There was great joy at their coming, and the prince hurried to meet them, and lifted the maid from her horse, thinking she was the one who was to be his wife; and she was led upstairs to the royal chamber, but the true princess was told to stay in the court below. However, the old king happened to be looking out of the window, and saw her in the yard below; and as she looked very pretty, and too delicate for a waiting-maid, he went into the royal chamber to ask the bride whom it was she had brought with her, that was thus left standing in the court below. "I brought her with me for the sake of her company on the road," said she. "Pray give the girl some work to do, that she may not be idle." The old king could not for some time think of any work for her, but at last he said, "I have a lad who takes care of my geese; she may go and help him." Now the name of this lad, that the real bride was to help in watching the king's geese, was Curdken. Soon after, the false bride said to the prince, "Dear husband, pray do me one piece of kindness." "That I will," said the prince. "Then tell one of your slaughterers to cut off the head of the horse I rode upon, for it was very unruly, and plagued me sadly on the road." But the truth was, she was very much afraid lest Falada should speak, and tell all she had done to the princess. She carried her point, and the faithful Falada was killed; but when the true princess heard of it she wept, and begged the man to nail up Falada's head against a large dark gate in the city through which she had to pass every morning and evening, that there she might still see him sometimes. Then the slaughterer said he would do as she wished, so he cut off the head and nailed it fast under the dark gate. Early the next morning, as the princess and Curdken went out through the gate, she said sorrowfully— "Falada, Falada, there thou art hanging!" and the head answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then they went out of the city, driving the geese. And when they came to the meadow, the princess sat down upon a bank there and let down her waving locks of hair, which were all of pure gold; and when Curdken saw it glitter in the sun, he ran up, and would have pulled some of the locks out; but she cried— "Blow, breezes, blow! Let Curdken's hat go! Blow breezes, blow! Let him after it go! "O'er hills, dales, and rocks, Away be it whirl'd, Till the golden locks Are all comb'd and curl'd!" Then there came a wind, so strong that it blew off Curdken's hat, and away it flew over the hills, and he after it; till, by the time he came back, she had done combing and curling her hair, and put it up again safely. Then he was very angry and sulky, and would not speak to her at all; but they watched the geese until it grew dark in the evening, and then drove them homewards. The next morning, as they were going through the dark gate, the poor girl looked up at Falada's head, and cried— "Falada, Falada, there thou art hanging!" and it answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then she drove on the geese and sat down again in the meadow, and began to comb