Steeple Quotes

I sought to hear the voice of God and climbed the topmost steeple, but God declared: "Go down again - I dwell among the people.

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, the only fact we have. It seems to me that one ought to rejoice in the fact of death--ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible for life: It is the small beacon in that terrifying darkness from which we come and to which we shall return.

I have stretched ropes from steeple to steeple; Garlands from window to window; Golden chains from star to star ... And I dance.

who knows if the moon's a balloon,coming out of a keen city in the sky--filled with pretty people? ( and if you and I should get into it,if they should take me and take you into their balloon, why then we'd go up higher with all the pretty people than houses and steeples and clouds: go sailing away and away sailing into a keen city which nobody's ever visited,where always it's Spring)and everyone's in love and flowers pick themselves

I'll tell you how the sun rose, a ribbon at a time. The steeples swam in amethyst, The news like squirrels ran. The hills untied their bonnets, The bobolinks begun. Then I said softly to myself, "That must have been the sun!

The streets of Prague were a fantasia scarcely touched by the twenty-first century—or the twentieth or nineteenth, for that matter. It was a city of alchemists and dreamers, its medieval cobbles once trod by golems, mystics, invading armies. Tall houses glowed goldenrod and carmine and eggshell blue, embellished with Rococo plasterwork and capped in roofs of uniform red. Baroque cupolas were the soft green of antique copper, and Gothic steeples stood ready to impale fallen angels. The wind carried the memory of magic, revolution, violins, and the cobbled lanes meandered like creeks. Thugs wore Motzart wigs and pushed chamber music on street corners, and marionettes hung in windows, making the whole city seem like a theater with unseen puppeteers crouched behind velvet.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have.

And marbled clouds go scudding by The many-steepled London sky.

and half of learning to play is learning what not to play and she's learning the spaces she leaves have their own things to say and she's trying to sing just enough so that the air around her moves and make music like mercy that gives what it is and has nothing to prove she crawls out on a limb and begins to build her home and it's enough just to look around and to know that she's not alone up up up up up up up points the spire of the steeple but god's work isn't done by god it's done by people

. . . There are many type of humans. Look here.” She steeples her hands and puts her chin on top of it. “On top is white man. White man culture, very good.” She slides her chin down to her wrist. “Second comes Yellow man culture. Yellow also good.” She lifts her head and serves me a pitiful glance. “Sorry to tell you, Kumar. Other species comes only below.

Life is tragic simply because the earth turns, and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death – ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

Wake up, buddy. You okay?” “Auntie Em! Auntie Em!” Homer’s VR came online, smiling. “I guess we got’em.” I snorted with relief. “And their little dog, too.” Homer steepled his fingers in a properly evil mastermindish pose. “All their base are belong to us.

What is your collective GPA for this year?” “Not as high as I'd like it to be.” Freud steepled his fingers in front of his mouth. “What about your parents?” “I don't know. They haven't been in school for a while.

Up up up up up up points the spire of the steeple but god's work isn't done by god it's done by people

the colour of my soul is iron-grey and sad bats wheel about the steeple of my dreams.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.

Why did you buy me?" He leaned back, steepling his fingers. "I didn't. You were a gift. An unwanted gift." His lips twitched. "A bribe, if you will.

I had imagined a kind, ugly, intuitive man looking up and saying "Ah!" in an encouraging way, as if he could see something I couldn't and then I would find words to tell him how I was so scared, as I were being stuffed farther and farther into a black, airless sack with no way out. Then he would lean back in his chair and match the tips of his fingers together in a little steeple and tell me why I couldn't sleep and why I couldn't read and why I couldn't eat and why everything people did seemed so silly, because they only died in the end. And then, I thought, he would help me, step by step, to be myself again.

I’m crazy about this City. Daylight slants like a razor cutting the buildings in half. In the top half I see looking faces and it’s not easy to tell which are people, which the work of stonemasons. Below is shadow where any blasé thing takes place: clarinets and lovemaking, fists and the voices of sorrowful women. A city like this one makes me dream tall and feel in on things. Hep. It’s the bright steel rocking above the shade below that does it. When I look over strips of green grass lining the river, at church steeples and into the cream-and-copper halls of apartment buildings, I’m strong. Alone, yes, but top-notch and indestructible-like the City in 1926 when all the wars are over and there will never be another one. The people down there in the shadow are happy about that. At last, at last, everything’s ahead. The smart ones say so and people listening to them and reading what they write down agree: Here comes the new. Look out.

That was the big joke, wasn't it? The answer to the riddle: There was no one up there in Heaven, making sure the accounts came out right. I'd solved it, hadn't I? Cracked the code? It was all just a joke. The god inside my brother's head was just his disease. My mother had knelt every night and prayed to her own steepled hands. Your baby died because of ... because of no particular reason at all. Your wife left you because you sucked all the oxygen out of the room, so you pretended she was the one in bed with you while you screwed your girlfriend and her boyfriend hid in the closet, watching.

I still say a church steeple with a lightning rod on top shows a lack of confidence

God is not attracted to mountaintops or church steeples. God is drawn to suffering, and the dark places it surfaces, which is why sharing pain freely feels very much like love, and may be the same thing. (207)

But the truth is it’s hard for me to know what I really think about any of the stuff I’ve written. It’s always tempting to sit back and make finger-steeples and invent impressive sounding theoretical justifications for what one does, but in my case most of it’d be horseshit. As time passes I get less and less nuts about anything I’ve published, and it gets harder to know for sure when its antagonistic elements are in there because they serve a useful purpose and when their just covert manifestations of this "look-at-me-please-love-me-I-hate you" syndrome I still sometimes catch myself falling into. Anyway, but what I think I meant by "antagonize" or "aggravate" has to do with the stuff in the TV essay about the younger writer trying to struggle against the cultural hegemony of TV. One thing TV does is help us deny that we’re lonely. With televised images, we can have the facsimile of a relationship without the work of a real relationship. It’s an anesthesia of "form." The interesting thing is why we’re so desperate for this anesthetic against loneliness. You don’t have to think very hard to realize that our dread of both relationships and loneliness, both of which are like sub-dreads of our dread of being trapped inside a self (a psychic self, not just a physical self), has to do with angst about death, the recognition that I’m going to die, and die very much alone, and the rest of the world is going to go merrily on without me. I’m not sure I could give you a steeple-fingered theoretical justification, but I strongly suspect a big part of real art fiction’s job is to aggravate this sense of entrapment and loneliness and death in people, to move people to countenance it, since any possible human redemption requires us first to face what’s dreadful, what we want to deny.

God designed each one of us for His purpose-and God doesn't make junk.

I Hear the sledges with the bells - Silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars that oversprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells - From the jingling and the tinkling of the bells. II Hear the mellow wedding bells - Golden bells! What a world of happiness their harmony foretells! Through the balmy air of night How they ring out their delight! - From the molten - golden notes, And all in tune, What a liquid ditty floats To the turtle - dove that listens, while she gloats On the moon! Oh, from out the sounding cells, What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! - how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells - Of the bells, bells, bells, bells, Bells, bells, bells - To the rhyming and the chiming of the bells! III Hear the loud alarum bells - Brazen bells! What a tale of terror, now, their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor Now - now to sit, or never, By the side of the pale - faced moon. Oh, the bells, bells, bells! What a tale their terror tells Of Despair! How they clang, and clash and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear, it fully knows, By the twanging, And the clanging, How the danger ebbs and flows; Yet the ear distinctly tells, In the jangling, And the wrangling, How the danger sinks and swells, By the sinking or the swelling in the anger of the bells - Of the bells - Of the bells, bells, bells, bells, Bells, bells, bells - In the clamor and the clanging of the bells! IV Hear the tolling of the bells - Iron bells! What a world of solemn thought their monody compels! In the silence of the night, How we shiver with affright At the melancholy menace of their tone! For every sound that floats From the rust within their throats Is a groan. And the people - ah, the people - They that dwell up in the steeple, All alone, And who, tolling, tolling, tolling, In that muffled monotone, Feel a glory in so rolling On the human heart a stone - They are neither man nor woman - They are neither brute nor human - They are Ghouls: - And their king it is who tolls: - And he rolls, rolls, rolls, Rolls A paean from the bells! And his merry bosom swells With the paean of the bells! And he dances, and he yells; Keeping time, time, time, In a sort of Runic rhyme, To the paean of the bells: - Of the bells: Keeping time, time, time In a sort of Runic rhyme, To the throbbing of the bells - Of the bells, bells, bells: - To the sobbing of the bells: - Keeping time, time, time, As he knells, knells, knells, In a happy Runic rhyme, To the rolling of the bells - Of the bells, bells, bells - To the tolling of the bells - Of the bells, bells, bells, bells, Bells, bells, bells, - To the moaning and the groaning of the bells.

His fingers bent forward at the topmost joint pushing down against the tips of my nails, and his thumb rested lightly against the mole on my index finger. i thought of mosques and churches and prayer mats. Hands clasped together; one hand resting atop the other; fingers interlocked to mime a steeple. What sacred power is invested in hands? This is not to say I was having pious thoughts.

Personally, I'm not much for symbolism. I never get it. Why can't things be just as they are? I never thought to psychoanalyze Seymour Glass or sought to break down "Desolation Row." I just wanted to get lost, become one with somewhere else, slip a wreath on a steeple top solely because I wished it.

God is not attracted to mountaintops or church steeples. God is drawn to suffering, and the dark places it surfaces.

Pasture, stone wall, and steeple, What most perturbs the mind: The heart-rending homely people, Or the horrible beautiful kind?

But it’s what I call “The Valley Filled with Clouds” technique. You’re at the edge of the valley, and there is a church steeple, and there is a tree, and there is a rocky outcrop, but the rest of it is mist. But you know that because they exist, there must be ways of getting from one to the other that you cannot see. And so you start the journey. And when I write, I write a draft entirely for myself, just to walk the valley and find out what the book is going to be all about.

I talk. Jim runs. I tilt stones, Jim grabs the cold junk under the stones and -lickety-split! I climb hills. Jim yells off church steeples. I got a bank account. Jim’s got the hair on his head, the yell in his mouth, the shirt on his back and the tennis shoes on his feet. How come I think he’s richer?

Admirable, however, as the Paris of the present day appears to you, build up and put together again in imagination the Paris of the fifteenth century; look at the light through that surprising host of steeples, towers, and belfries; pour forth amid the immense city, break against the points of its islands, compress within the arches of the bridges, the current of the Seine, with its large patches of green and yellow, more changeable than a serpent's skin; define clearly the Gothic profile of this old Paris upon an horizon of azure, make its contour float in a wintry fog which clings to its innumerable chimneys; drown it in deep night, and observe the extraordinary play of darkness and light in this sombre labyrinth of buildings; throw into it a ray of moonlight, which shall show its faint outline and cause the huge heads of the towers to stand forth from amid the mist; or revert to that dark picture, touch up with shade the thousand acute angles of the spires and gables, and make them stand out, more jagged than a shark's jaw, upon the copper-coloured sky of evening. Now compare the two.

The commonplace becomes exceptional when God is involved.

He turned to her. “Didn’t you see the lightning strike the steeple?” She recovered with a sip of tea, then smiled sweetly. “I was listening too devotedly to the sermon.” “Claptrap last week,” Lady D announced. “I think the priest is getting old.” Gareth opened his mouth, but before he could say a word, his grandmother’s cane swung around in a remarkably steady horizontal arc. “Don’t,” she warned, “make a comment beginning with the words, ‘Coming from you…’” “I wouldn’t dream of it,” he demurred. “Of course you would,” she stated. “You wouldn’t be my grandson if you wouldn’t.” She turned to Hyacinth. “Don’t you agree?” To her credit, Hyacinth folded her hands in her lap and said, “Surely there is no right answer to that question.” “Smart girl,” Lady D said approvingly. “I learn from the master.” Lady Danbury beamed.

How funny you are today New York like Ginger Rogers in Swingtime and St. Bridget’s steeple leaning a little to the left here I have just jumped out of a bed full of V-days (I got tired of D-days) and blue you there still accepts me foolish and free all I want is a room up there and you in it and even the traffic halt so thick is a way for people to rub up against each other and when their surgical appliances lock they stay together for the rest of the day (what a day) I go by to check a slide and I say that painting’s not so blue where’s Lana Turner she’s out eating and Garbo’s backstage at the Met everyone’s taking their coat off so they can show a rib-cage to the rib-watchers and the park’s full of dancers with their tights and shoes in little bags who are often mistaken for worker-outers at the West Side Y why not the Pittsburgh Pirates shout because they won and in a sense we’re all winning we’re alive the apartment was vacated by a gay couple who moved to the country for fun they moved a day too soon even the stabbings are helping the population explosion though in the wrong country and all those liars have left the UN the Seagram Building’s no longer rivalled in interest not that we need liquor (we just like it) and the little box is out on the sidewalk next to the delicatessen so the old man can sit on it and drink beer and get knocked off it by his wife later in the day while the sun is still shining oh god it’s wonderful to get out of bed and drink too much coffee and smoke too many cigarettes and love you so much

I met you at the cornerstone on the highway to bedlam./Walked with you to the pinnacle, along that ledge to hell,/Traveled along the passageway of all things aching,/But would crawl with you if you wanted me to/On the steeple point to hope./So we can tip the stars and hold the moon,/Graze the sun, but make it soon.

The mellow bells, soaring and singing in tower and steeple, told of time's flight through an eternity of peace; and Great Tom, tolling his nightly hundred-and-one, called home only the rooks from off Christ Church Meadow.

I simply argue that the cross be raised again, at the centre of the marketplace as well as on the steeple of the church. I am recovering the claim that Jesus was not crucified in a cathedral between two candles but on a cross between two thieves; on a town garbage heap; at a crossroad of politics so cosmopolitan that they had to write His title in Hebrew and in Latin and in Greek … and at the kind of place where cynics talk smut, and thieves curse, and soldiers gamble. Because that is where He died, And that is what He died about. And that is where Christ’s own ought to be, And that is what church people ought to be about.

Steeple, people, banana-fana-fo-feeple. What the fuck ever. If you don't loosen up, lady, I'll drop your ass on it.

The sharp white steeple of the Hawthorne First Baptist Church stuck up through the leafless trees like an admonishing finger.

There's a trick to being whatever you want to be in life. It starts with the simple belief that you are what or who you say you are. It starts, like all faiths, with a belief-a belief predicated more on whimsy than reality. And you've gotta believe for everybody else, too-until you can show them proof. If you're lucky, someone starts believing with you-first theoretically, then in practice. And two people believing are the start of a congregation. You build a congregation of believers and eventually you set out to craft a cathedral. Sometimes it's just a church; sometimes it turns out to be a chapel. Folks who don't build churches will try to tell you how you're doing it wrong, even as your steeple breaks the clouds. Never listen.

Dim loneliness came imperceivably into the fields and he turned back. The birds piped oddly; some wind was caressing the higher foliage, turning it all one way, the way home. Telegraph poles ahead looked like half-used pencils; the small cross on the steeple glittered with a sharp and shapely permanence.

Books enveloped the room floor to ceiling like wallpaper.

The human mind prefers something which it can recognize to something for which it has no name, and, whereas thousands of persons carry field glasses to bring horses, ships, or steeples close to them, only a few carry even the simplest pocket microscope. Yet a small microscope will reveal wonders a thousand times more thrilling than anything which Alice saw behind the looking-glass.

Long-time inhabitant of steeples, accustomed to contemplating, from his perch on a rainspout, the expanse of roofs, he knew that the souls of cities are more substantial and more lasting than those of all their inhabitants put together.

What?" I ask. I don't get anything about this day. Everything is just off. "Are you sure?" "Am I sure where I live? Yeah. Steeple Drive." "Your cabin is on this road?" "Is it just me, or is everything I'm saying slightly freaking you out?

Tobacco put food on our tables, steeples on our churches, stains on our fingers, spots on our lungs, and contradictions in our hearts.

Even the church has to have its outhouse, just as it has to have a front door as well as a back door, a basement as well as a steeple. Because man is always going to be man....

Bad things will happen to the finest of people Sometimes their heart is hung high on a steeple And even while it sits there as if on display Some uncaring person will add more dismay

Clark had always been fond of beautiful objects, and in his present state of mind, all objects were beautiful. He stood by the case and found himself moved by every object he saw there, by the human enterprise each object had required. Consider the snow globe. Consider the mind that invented those miniature storms, the factory worker who turned sheets of plastic into white flakes of snow, the hand that drew the plan for the miniature Severn City with its church steeple and city hall, the as**sembly-line worker who watched the globe glide past on a conveyer belt somewhere in China. Consider the white gloves on the hands of the woman who inserted the snow globes into boxes, to be packed into larger boxes, crates, shipping containers. Consider the card games played belowdecks in the evenings on the ship carrying the containers across the ocean, a hand stubbing out a cigarette in an overflowing ashtray, a haze of blue smoke in dim light, the cadences of a half dozen languages united by common profanities, the sailors’ dreams of land and women, these men for whom the ocean was a gray-line horizon to be traversed in ships the size of overturned skyscrapers. Consider the signature on the shipping manifest when the ship reached port, a signature unlike any other on earth, the coffee cup in the hand of the driver delivering boxes to the distribution center, the secret hopes of the UPS man carrying boxes of snow globes from there to the Severn City Airport. Clark shook the globe and held it up to the light. When he looked through it, the planes were warped and caught in whirling snow.

No sun—no moon! No morn—no noon— No dawn— No sky—no earthly view— No distance looking blue— No road—no street—no "t'other side the way"— No end to any Row— No indications where the Crescents go— No top to any steeple— No recognitions of familiar people— No courtesies for showing 'em— No knowing 'em! No traveling at all—no locomotion, No inkling of the way—no notion— "No go"—by land or ocean— No mail—no post— No news from any foreign coast— No park—no ring—no afternoon gentility— No company—no nobility— No warmth, no cheerfulness, no healthful ease, No comfortable feel in any member— No shade, no shine, no butterflies, no bees, No fruits, no flowers, no leaves, no birds, November!

As it happens I’ve spent a night and a day going through your records. Fascinating stuff.” Kempis took a roll of parchment from his cloak and tossed it onto the desk. “You know what really bugs me?” Enli steepled his hands. “I’m on tenterhooks.” “Anolamies.” “Anomalies?” “Them too.

O jest unseen, inscrutable, invisible, As a nose on a man's face, or a weathercock on a steeple! My master sues to her, and she hath taught her suitor, He being her pupil, to become her tutor. O excellent device! was there ever heard a better, That my master, being scribe, to himself should write the letter? Valentine. How now, sir? what are you reasoning with yourself? Speed. Nay, I was rhyming: 'tis you that have the reason.

When you look out across the fields And you both see the same star Pitching its tent on the point of the steeple — That is the time to set out on your journey, With half a loaf and your mother’s blessing. Leave behind the places that you knew: All that you leave behind you will find once more, You will find it in the stories; The sleeping beauty in her high tower With her talking cat asleep Solid beside her feet — you will see her again. When the cat wakes up he will speak in Irish and Russian And every night he will tell you a different tale About the firebird that stole the golden apples, Gone every morning out of the emperor’s garden, And about the King of Ireland’s Son and the Enchanter’s Daughter. The story the cat does not know is the Book of Ruth And I have no time to tell you how she fared When she went out at night and she was afraid, In the beginning of the barley harvest, Or how she trusted to strangers and stood by her word: You will have to trust me, she lived happily ever after.

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.

There she goes. How strange she is: my winter child; my changeling. Wild as an armful of birds, she flies everywhere in an instant. There is no keeping her inside, no making her sit quietly. She has never been like other girls, never like other children. Rosette is a force of nature, like the jackdaws that sit on the steeple and laugh, like a fall of unseasonal snow, like the blossom on the wind.

Life is tragic simply because the earth turns, and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. —James Baldwin, The Fire Next Time

Noon comes with bells on, because this is London, and London is a city of bells. From its heart to its ragged edges, they bisect the day in a jangle of sound: peals and tinkles and deep bass knells. They ring from steeples and clocktowers, from churches and town halls, in an overlapping celebration of the everyday fact that time passes.

The Christian cross comes from Egypt and India; the triple miter from the faith of the Mithraics; the shepherd’s crook from the Hermetic Mysteries and Greece; the immaculate conception from India; the transfiguration from Persia; and the trinity from the Brahmans. The Virgin Mary, as the mother of God, is found in a dozen different faiths. There are over twenty crucified world saviors. The church steeple is an adaptation of Egyptian obelisks and pyramids, while the Christian devil is the Egyptian Typhon with certain modifications

Ken steepled his fingers and gazed thoughtfully up at the ceiling. 'Dwarves have done very well for us in primetime.

Have you ever tasted rose hips, in tea or jam? A tart sourness that cleans the teeth, refreshes, smells like a good morning. A mash of rose hips and mint keeps me steepling my fingers all day long, to keep those scents in my head. Sumac, too—I think you might like sumac.

Silence blew from the hole she had dug like smoke. She could feel what lay just beyond. The new countryside. The unspeaking multitude. Steeples and arches of bone; temples of silence. She felt the great shapes that moved there, majestic and unfurled, utterly silent, utterly dark.

I won't go down the horrible street To see the horrible people I'll gladly climb the terrible stair That leads to the terrible steeple And the terrible rats And the terrible bats And the cats in the terrible steeple But I won't go down the horrible street To see the horrible people

The rapacious white tribe who were arriving in increasing numbers, not only as convicts but also as settlers, wanted to own everything they touched. They slashed and burned the wilderness so that they might graze their sheep and grow their corn. They erected fences around the land they now called their own and which henceforth they were prepared to defend with muskets and sometimes even their lives. They built church steeples and prison walls and homes of granite hewn from the virgin rock and timber cut from the umbrageous mountain forests. They possessed everything upon the island, the wild beasts that grazed upon its surface, the birds that flew over it, the fish that swam in its rushing river torrents and the barking seals resting in the quiet bays and secluded inlets. Everything they thought worthwhile was attached to the notion of ownership.

Here we live in the shadow of the steeple, where the holy rubber meets the road, all crookedly blessed in God’s mercy, in the heart-stopping, pants-dropping, race-riot-creating, oddball-hating, soul-shaking, love-and-fear-making, heartbreaking town of Freehold, New Jersey. Let the service begin.

I got a golden handshake that nearly broke my arm I left the ranks of shuffling graveyard people I got rust upon my hands from the padlocked factory gates Silent chimneys provide the silent steeples

Trying what?" cried Maury fiercely. "Trying to pierce the darkness of political idealism with some wild, despairing urge toward truth? Sitting day after day supine in a rigid chair and infinitely removed from life staring at the tip of a steeple through the trees, trying to separate, definitely and for all time, the knowable from the unknowable? Trying to take a piece of actuality and give it glamour from your own soul to make for that inexpressible quality it possessed in life and lost in transit to paper or canvas?

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have.

Cultivation, old civilization, beauty, history! Surprising turnings of streets, shapes of venerable cottages, lovely aged eaves, unexpected and gossamer turrets, steeples, the gloss, the antiquity! Gardens. Whoever speaks of Paris has never seen Warsaw. [...] Whoever yearns for an aristocratic sensibility, let him switch on the great light of Warsaw.

There were leaders here and elsewhere who agreed with the woman, he knew, including an Ohio sheriff who'd recently proposed taking naloxone away from his deputies, claiming that repeated overdose reversals were "sucking the taxpayers dry." Lloyd thought immediately of the answer Jesus gave when his disciple asked him to enumerate the concept of forgiveness. Should it be granted seven times, Peter wanted to know, or should a sinner be forgiven as many as seventy times? In the shadow of the church steeples, Lloyd let Jesus answer the woman's question: "Seventy times seven," he said.

I'd hate to be a balding man named Harry Harrison.

There were several recently dug graves in the churchyard, but I found only one that was freshly dug and covered with fresh flowers. I had known Anna only from a few laughing words, from the light in her eyes, a touch of hands and a fleeting kiss, but I felt an ache inside me such as I had not felt since I was a child, since my father’s death. I looked up at the church steeple, a dark arrow pointing at the moon and beyond, and tried with all my heart and mind to believe she was up there somewhere in that vast expanse of infinity, up there in Sunday-school Heaven, in Big Joe’s happy Heaven. I couldn’t bring myself to think it. I knew she was lying in the cold earth at my feet. I knelt down and kissed the earth, then left her there. The moon sailed above me, following behind me, through the trees, lighting my way back to camp. By the time I got there I had no more tears left to cry. The

On my bedside table is a snow globe with a winterscape inside. Church, park bench, girl standing shin-deep in snow. Tip the snow globe over and a blizzard of slow snow falls over church and bench and girl. What is it about snow globes that makes them fascinating and terrifying at once? My heart lurches at the thought of the snow-globe girl waiting endlessly, with only the hope of a new snow blizzard to settle on her mantle when the next person tips her snow-globe world over. Not a gust of breeze may ruffle her skirt, not a bird may perch atop the steeple. The only way out of a snow globe is by shattering the glass dome that is its sky.

I don't validate my faith with a church attendance scorecard. I think of church as a vibrant community of people consisting of two or more of varied backgrounds gathering around Jesus. Sometimes they are at a place that might have a steeple or auditorium seating. But it's just as likely that church happens elsewhere, like coffee shops or on the edge of a glacier or in the bush in Uganda. All of these places work just fine, I suppose, When it's a matter of the heart, the place doesn't matter. For me, it's Jesus plus nothing—not even a building.

And running, Will thought, Boy, it’s the same old thing. I talk. Jim runs. I tilt stones, Jim grabs the cold junk under the stones and—lickety-split! I climb hills. Jim yells off church steeples. I got a bank account. Jim’s got the hair on his head, the yell in his mouth, the shirt on his back and the tennis shoes on his feet. How come I think he’s richer? Because, Will thought, I sit on a rock in the sun and old Jim, he prickles his arm-hairs by moonlight and dances with hoptoads. I tend cows. Jim tames Gila monsters. Fool! I yell at Jim. Coward! he yells back. And here we—go!

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have

I don’t know if you have ever seen one of those old maps where they mark a spot with a cross and put ‘Here be dragons’ or ‘Keep ye eye skinned for hippogriffs’, but I had always felt that some such kindly warning might well have been given to pedestrians and traffic with regard to this Steeple Bumpleigh.

The Hermit I’d gladly climb the highest steeple To escape those middle minded people Jet Set Wedding I wake up screaming clutching my wedding band The garnet ring is still a constant companion on my finger But what happened to the marriage? Fruitland Ave He taught her not to love nor hate And he my friend was double gate The Closing (On Death and Acceptance) When he died the funeral took place at her bank And sadly enough she’s down to her very last frank The Misogynist He sits on his throne a hilltop alone For women’s neurosis cause men’s psychosis Home Sweet Home The neurotic builds the dreamhouse The psychotic becomes his spouse Monogamy I’d rather be someone’s concubine, smell the honeysuckle Taste the wine, than end up being a clinging vine The Gour Maid I like champagne, and french brie, and camembert And men that don’t get in my hair

He studied it, steepling his long fingers. I groaned. Enough was enough. “Why do you do that?” “Do what?” “That.” I mimicked his hands, flattened my brows and tried to make my eyes look somewhat insane. “I will have you know that it is my meditative pose.” “I will have you know that you look ridiculous.” “What about you?” he asked. He sucked in his cheeks and glowered, pointing at his face and then pointing at me. “What kind of meditative pose is that?” “It’s not a meditative pose at all,” I shot back. “My apologies. Is it your bellicose-let-me-drain-your-blood face? Could you not master an expression that looked less like an outraged cat?” “Better than steepling my hands and looking like an overgrown spider.” “An overgrown spider who is rarely wrong.” “My bellicose-let-me-drain-your-blood face has saved your life.” “And this overgrown-spider pose is about to save yours.

Darkness closed around, and then came the ringing of church bells and the distant beating of the military drums in the Palace Courtyard, as the women sat knitting, knitting. Darkness encompassed them. Another darkness was closing in as surely, when the church bells, then ringing pleasantly in many an airy steeple over France, should be melted into thundering cannon; when the military drums should be beating to drown a wretched voice, that night all potent as the voice of Power and Plenty, Freedom and Life. So much was closing in about the women who sat knitting, knitting, that they their very selves were closing in around a structure yet unbuilt, where they were to sit knitting, knitting, counting dropping heads.

All the while they were talking the half-remembered rhyme kept running through Winston’s head. Oranges and lemons, say the bells of St. Clement’s, You owe me three farthings, say the bells of St. Martin’s! It was curious, but when you said it to yourself you had the illusion of actually hearing bells, the bells of a lost London that still existed somewhere or other, disguised and forgotten. From one ghostly steeple after another he seemed to hear them pealing forth. Yet so far as he could remember he had never in real life heard church bells ringing.

The bell in the steeple may be well hung, fairly fashioned, and of soundest metal, but it is dumb until the ringer makes it speak. And . . . the preacher has no voice of quickening for the dead in sin, or of comfort for living saints unless the divine spirit [Spirit] gives him a gracious pull, and begs him speak with power. Hence the need of prayer for both preacher and hearers.

Dropping toward the watershed, the sun filled the place with evening light and kindled the windows and the western flanks of cupolas and steeples and many belfries, darkening the eastern walls with shadow; and as we gazed, one of them began to strike the hour and another took up the challenge, followed by a third and soon enormous tonnages of sectarian bronze were tolling their ancient rivalries into the dusk.

Here's a mountain, hard of hearing, That's sad-hearted and needs cheering, So my duty is to listen to all sounds that Nature makes, So the hill won't get uneasy— Get to coughing, or get sneezy— For this monster bump, when frightened, is quite liable to quakes. "You can hear a bell that's ringing; I can feel some people's singing; But a mountain isn't sensible of what goes on, and so When I hear a blizzard blowing Or it's raining hard, or snowing, I tell it to the mountain and the mountain seems to know. "Thus I benefit all people While I'm living on this steeple, For I keep the mountain steady so my neighbors all may thrive.

There were some crucial things Vera’s parents were forgetting about crosses, was what Peter said. One was that Jesus was nailed to His by enemies, not by Mary and Joseph. And another, he said, was that it killed Him. Christ’s cross killed Him. We’ve got to remember what crosses are, Peter said. They’re not just decorations on steeples. They’re murder weapons, he said, the same as guns, or gas chambers, or electric chairs.

Proud Maisie" Proud Maisie is in the wood, Walking so early; Sweet Robin sits on the bush, Singing so rarely. ‘Tell me, thou bonny bird, When shall I marry me?’ ‘When six braw gentlemen Kirkward shall carry ye.’ ‘Who makes the bridal bed, Birdie, say truly?’ ‘The grey-headed sexton, That delves the grave duly. ‘The glowworm o’er grave and stone Shall light thee steady; The owl from the steeple sing, ‘Welcome, proud lady.

Perhaps we can help you, Prisoner. Meaning comes from purpose—” “—and purpose comes in many forms.” Veera steepled her fingers. Surprisingly, Jorrus did not. She said, “Have you ever considered the fact that everything we are originates from the remnants of stars that once exploded?” Jorrus said, “Vita ex pulvis.” “We are made from the dust of dead stars.” “I’m aware of the fact,” said Kira. “It’s a lovely thought, but I don’t see the relevance.” Jorrus said, “The relevance—” “—is in the logical extension of that idea.” Veera paused for a moment. “We are aware. We are conscious. And we are made from the same stuff as the heavens.” “Don’t you see, Prisoner?” said Jorrus. “We are the mind of the universe itself. We and the Jellies and all self-aware beings. We are the universe watching itself, watching and learning.” “And someday,” said Veera, “we, and by extension the universe, will learn to expand beyond this realm and save ourselves from otherwise inevitable extinction.” Kira said, “By escaping the heat death of this space.” Jorrus nodded. “Even so. But the point is not that. The point is that this act of observation and learning is a process we all share—” “—whether or not we realize it. As such, it gives purpose to everything we do, no matter—” “—how insignificant it may seem, and from that purpose, meaning. For the universe itself, given consciousness through your own mind—” “—is aware of your every hurt and care.” Veera smiled. “Take comfort, then, that whatever you choose in life has importance beyond yourself. Importance, even, on a cosmic scale.

Home" It would take forever to get there but I would know it anywhere: My white horse grazing in my blossomy field. Its soft nostrils. The petals falling from the trees into the stream. The festival would be about to begin in the dusky village in the distance. The doe frozen at the edge of the grove: She leaps. She vanishes. My face— She has taken it. And my name— (Although the plaintive lark in the tall grass continues to say and to say it.) Yes. This is the place. Where my shining treasure has been waiting. Where my shadow washes itself in my fountain. A few graves among the roses. Some moss on those. An ancient bell in a steeple down the road making no sound at all as the monk pulls and pulls on the rope.

MADONNA OF THE EVENING FLOWERS All day long I have been working Now I am tired. I call: “Where are you?” But there is only the oak tree rustling in the wind. The house is very quiet, The sun shines in on your books, On your scissors and thimble just put down, But you are not there. Suddenly I am lonely: Where are you? I go about searching. Then I see you, Standing under a spire of pale blue larkspur, With a basket of roses on your arm. You are cool, like silver, And you smile. I think the Canterbury bells are playing little tunes, You tell me that the peonies need spraying, That the columbines have overrun all bounds, That the pyrus japonica should be cut back and rounded. You tell me these things. But I look at you, heart of silver, White heart-flame of polished silver, Burning beneath the blue steeples of the larkspur, And I long to kneel instantly at your feet, While all about us peal the loud, sweet Te Deums of the Canterbury bells

Lend your ear then to this tutti of steeples; diffuse over the whole the buzz of half a million of human beings, the eternal murmur of the river, the infinite piping of the wind, the grave and distant quartet of the four forests placed like immense organs on the four hills of the horizon; soften down, as with a demi-tint, all that is too shrill and too harsh in the central mass of sound, and say if you know any thing in the world more rich, more gladdening, more dazzling than that tumult of bells; than that furnace of music; than those ten thousand brazen tones breathed all at once from flutes of stone three hundred feet high; than that city which is but one orchestra; than that symphony rushing and roaring like a tempest.

Redditch: Christ, I hadn't even expected to be here. I was only standing in Redditch 'cause I was told it was a no-hoper. They bloody-well lied. Needles everywhere, you know that? Half the world's needles, made in sodding.. I was holding out for Cheam, or Chester. A 'ch' place, a nice little English 'ch' place. Not 'Redditch', listen to that. It's not a name, it's a fucking noise. What is it, 'Redditch'? Sounds like a frog vomiting. And they told me it was Worcestershire, another lie! Atkins: It is Worcestershire. Redditch: Oh Humphrey, it's Birmingham. Everyone knows it is, listen to the sodding accent. I imagined meadows and steeples and farmyards and haystacks. Well, do you know what, shall I tell you something? You can't find a haystack in Redditch cause of all the fucking needles!

I really, really, really would be forever indebted to you if you just revealed how you did one trick. Just one, that’s all I’m asking for.” Jay wipes his mouth with a napkin, his lips forming a smirk. “When you say ‘forever indebted,’ just what are we talking about here?” Jessie makes a foreboding sound. “No way, sweetheart. You don’t want to do that. This fucker’s a slave driver when you owe him.” “Okay, well, maybe I won’t be forever in your debt. Perhaps I was getting a little carried away with myself. If you tell me one trick, I’ll owe you one thing in return. You can decide, but it has to be reasonable, like washing your car or something.” Jay leans forward and steeples his fingers in front of him. “Will you wash my car topless?” he asks huskily. My cheeks colour, and Jessie lets out a bark of a laugh. “Oh, now, that is a good idea.” “Okay, let me amend my offer. I will owe you, but it can’t be sexual.” “Topless isn’t sexual,” says Jay. “Topless is natural.” “I second that,” Jessie adds. “How about braless?” Jay goes on. God, these two. Why do I even bother? “Fine. I retract my offer,” I huff, sitting back in my seat and folding my arms.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

And so even today, if, in a large provincial town, or in a quarter of Paris which I do not know very well, a passer-by who is "putting me on the right road" shows me in the distance, as a point to aim at, some hospital belfry or convent steeple lifting the peak of its ecclesiastical cap at the corner of the street which I am to take, my memory need only find in it some dim resemblance to that dear and vanished outline, and the passer-by, should he turn round to make sure that I have not gone astray, may be amazed to see me standing there, oblivious of the walk that I had planned to take or the place where I was obliged to call, gazing at the steeple for hours on end, motionless, trying to remember, feeling deep within myself a tract of soil reclaimed from the waters of Lethe slowly drying until the buildings rise on it again; and then no doubt, and then more anxiously than when, just now, I asked him to direct me, I seek my way again, I turn a corner ... but ... the goal is in my heart ...

It took him half an hour to reach the little mission chapel. From his position on his back in the river he could see just the tip of the steeple, but for the most part he gazed upward at the constellations. Rudy knew his constellations, because each one of his daughters had done a science project on them and they'd spent hours lying on their backs in the middle of the Edgar Lee Masters campus looking up at the sky. As the river bent to the south, he could see Virgo and Centaurus coming into view. At first they reminded him of true beauty, and he was overwhelmed. He knew that this heart-piercing ache, however painful, was the central experience of his life and that he would have to come to terms with it. No one - not Aristotle, not Epicurus, not Siva Singh - would ever convince him otherwise. But then it occurred to him that Virgo and Centaurus were just as arbitrary as the rudimentary classification system he'd used for his books - Helen's books. There were a lot of stars left out of the constellations, and nothing to stop you from drawing the lines in different ways to create different pictures. He wanted to lift his wings and fly, but he didn't have the power. He could only let the river carry him along.

Journey by Train Stretched across counties, countries, the train Rushes faster than memory through the rain. The rise of each hill is a musical phrase. Listen to the rhythm of space, how it lies, How it rolls, how it reaches, what unwinding relays Of wood and meadow where the red cows graze Come back again and again to closed eyes— That garden, that pink farm, that village steeple, And here and there the solitary people Who stand arrested when express trains pass, That stillness of an orchard in deep grass. Yet landscapes flow like this toward a place, A point in time and memory’s own face. So when the clamor stops, we really climb Down to the earth, closing the curve of time, Meeting those we have left, to those we meet Bringing our whole life that has moved so fast, And now is gathered up and here at last, To unroll like a ribbon at their feet.

The track led into a sort of tunnel made of forest. They left daylight behind, a thousand leaves hemming them into dusky shade. As she traipsed behind Jack's torn blue jacket, he squinted into the foliage, hearkening to every cracking twig or bird-chirrup. After what seemed an age, they came out into blessed sunshine again. They were in a clearing, their ears filled with a thundering wind, the air itself trembling. A few paces further they came upon the source: above them, a waterfall tumbled from a clifftop as high as a church steeple. The water fell in milky blue strands, shooting spray in the air that danced in rainbows of gold, pink and blue. At their feet was a deep and inviting lagoon. It fair took her breath away. Jack crouched to look at the pool's edge, where a mud bank was scrabbled with marks. "We should go back," he said. "Something drinks here." She didn't care. She was spellbound. "Look, a cave!" Across the lagoon stood a dark entrance hung with pretty mosses, like a fairy grotto. "Just one peep," she whispered, for there was something powerful and secret about the place. "Then we can go back." But Jack was still peering at the tracks around the water's edge. "Whatever drinks here, it's not here now. I dare you, Jack. A quick look around the cave and then we'll be on our way." She had a notion, from some story or other, that caves were places where treasure was hidden; she reckoned pirates might have left jewels and plunder behind long ago. "It's the end of the rainbow," she laughed. "Let's find our crock of gold.

You want to leave the moat, to go back to the room; you’re already turning and trying to find the door, covered with fake leather, in the steep wall of the moat, but the master succeeds in grabbing your hand and, looking straight in your eyes, says: Your assignment: describe the jaw of a crocodile, the tongue of a hummingbird, the steeple of the New Maiden Convent, a shoot of bird cherry, the bend of the Lethe, the tail of any village dog, a night of love, mirages over hot asphalt, the bright midday in Berezov, the face of a flibbertigibbet, the garden of hell, compare the termite colony to the forest anthill, the sad fate of leaves to the serenade of a Venetian gondolier, and transform a cicada into a butterfly, turn rain into hail, day into night, give us today our daily bread, make a sibilant out of a vowel, prevent the crash of the train whose engineer is asleep, repeat the thirteenth labor of Hercules, give a smoke to a passerby, explain youth and old age, sing a song about a bluebird bringing water in the morn, turn your face to the north, to the Novgorodian barbicans, and then describe how the doorman knows it is snowing outside, if he sits in the foyer all day, talks to the elevator operator, and does not look out the window because there is no window; yes, tell how exactly, and in addition, plant in your orchard a white rose of the winds, show it to the teacher Pavel and, if he likes it, give the white rose to the teacher Pavel, pin the flower to his cowboy shirt or to his dacha hat, bring joy to the man who departed to nowhere, make your old pedagogue—a joker, a clown, and a wind-chaser—happy.

Clark had always been fond of beautiful objects, and in his present state of mind, all objects were beautiful. He stood by the case and found himself moved by every object he saw there, by the human enterprise each object had required. Consider the snow globe. Consider the mind that invented those miniature storms, the factory worker who turned sheets of plastic into white flakes of snow, the hand that drew the plan for the miniature Severn City with its church steeple and city hall, the assembly-line worker who watched the globe glide past on a conveyer belt somewhere in China. Consider the white gloves on the hands of the woman who inserted the snow globes into boxes, to be packed into larger boxes, crates, shipping containers. Consider the card games played belowdecks in the evenings on the ship carrying the containers across the ocean, a hand stubbing out a cigarette in an overflowing ashtray, a haze of blue smoke in dim light, the cadences of a half dozen languages united by common profanities, the sailors’ dreams of land and women, these men for whom the ocean was a gray-line horizon to be traversed in ships the size of overturned skyscrapers. Consider the signature on the shipping manifest when the ship reached port, a signature unlike any other on earth, the coffee cup in the hand of the driver delivering boxes to the distribution center, the secret hopes of the UPS man carrying boxes of snow globes from there to the Severn City Airport. Clark shook the globe and held it up to the light. When he looked through it, the planes were warped and caught in whirling snow.