Sunflower Field Quotes

Who knows what may lie around the next corner? There may be a window somewhere ahead. It may look out on a field of sunflowers.

what is it with you and sunflowers he asks i point to the field of yellow outside sunflowers worship the sun i tell him only when it arrives do they rise when the sun leaves they bow their heads in mourning that is what the sun does to those flowers it's what you do to me - the sun and her flowers

She stood out like a sunflower in a field of wheat.

As Sidda joined Vivi in staring out into the darkness of the fields, where hundreds of sunflowers grew, she thought: I will never fully know my mother, any more than I will ever know my father or Connor, or myself. I have been missing the point. The point is not knowing another person, or learning to love another person. The point is simply this: how tender can we bear to be? What good manners can we show as we welcome ourselves and others into our hearts?

Then summer came. A summer limp with the weight of blossomed things. Heavy sunflowers weeping over fences; iris curling and browning at the edges far away from their purple hearts; ears of corn letting their auburn hair wind down to their stalks. AND THE BOYS. The beautiful, beautiful boys who dotted the landscape like jewels, split the air with their shouts in the field, and thickened the river with their shining wet backs. EVEN THEIR FOOTSTEPS LEFT A SMELL OF SMOKE BEHIND!

Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lambsquarter, cutgrass, saw brier, nutgrass, jimson-weed, wild mint, dandelion, foxtail, spinecabbage, goldenrod, creeping Charlie, butterprint, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads nodding in a soft morning breeze like a mother’s hand on your check. An arrow of starlings fired from the windbreak’s thatch. The glitter of dew that stays where it is and steams all day. A Sunflower, four more one bowed, and horses in the distance standing rigid as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lamb's-quarter, cutgrass, sawbrier, nutgrass, jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage, goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads gently nodding in a morning breeze like a mother's soft hand on your cheek. An arrow of starlings fired from the windbreak's thatch. The glitter of dew that stays where it is and steams all day. A sunflower, four more, one bowed, and horses in the distance standing rigid and still as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers. Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.

The Sunflowers Come with me into the field of sunflowers. Their faces are burnished disks, their dry spines creak like ship masts, their green leaves, so heavy and many, fill all day with the sticky sugars of the sun. Come with me to visit the sunflowers, they are shy but want to be friends; they have wonderful stories of when they were young-- the important weather, the wandering crows. Don't be afraid to ask them questions! Their bright faces, which follows the sun, will listen, and all those rows of seeds-- each one a new life!-- hope for a deeper acquaintance; each of them, though it stands in a crowd of many, like a separate universe, is lonely, the long work of turning their lives into a celebration is not easy. Come and let us talk with those modest faces, the simple garments of leaves, the coarse roots in the earth so uprightly burning.

Every second a million petitions wing past the ear of God. Let it be door number two. Get Janet through this. Make Mom fall in love again, make the pain go away, make this key fit. If I fish this cove, plant this field, step into this darkness, give me the strength to see it through. Help my marriage, my sister, me. What will this fund be worth in thirteen days? In thirteen years? Will I be around in thirteen years? And the most unanswerable of unanswerables: Don't let me die. And: What will happen afterward? Chandeliers and choirs? Flocks of souls like starlings harrying across the sky? Eternity; life again as bacteria, or as sunflowers, or as a leatherback turtle; suffocating blackness; cessation of all cellular function.

All farms require a resident dreamer, someone to thumb through seed catalogs in the cold days of late January, imagining summer fields of squash and cucumbers, tomatoes and sunflowers. Fall harvests are the reward of winter dreams. Someone must decide where the next fence should be placed, or conceive of a clever new way to organize the market stand. On a farm, there's no shortage of little dreams needing to be dreamed.

Oliver liked to keep the windows and shutters wide open in the afternoon, with just the swelling sheer curtains between us and life beyond, because it was a 'crime' to block away so much sunlight and keep such a landscape from view, especially when you didn't have it all life long, he said. Then the rolling fields of the valley leading up to the hills seemed to sit in a rising mist of olive green: sunflowers, grapevines, swatches of lavender, and those squat and humble olive trees stooping like gnarled, aged scarecrows gawking through our window as we lay naked on my bed, the smell of his sweat, which was the smell of my sweat, and next to me my man-woman whose man-woman I was, and all around us Mafalda's chamomile-scented laundry detergent, which was the torrid afternoon world of our house.

And whoever thinks these are worthy, breathy words I am writing down is kind. Writing is neither vibrant life nor docile artifact but a text that would put all its money on the hope of suggestion. Come with me into the field of sunflowers is a better line than anything you will find here, and the sunflowers themselves far more wonderful than any words about them.

The happiest field in all the harvest is the field of sunflowers at their peak. Drinking the rays and dancing in the breeze. The saddest field is the same field, six weeks later. Drunk on the sun and burnt with shame, they drop their heads to hide their mane.

What being in the War and being in the Army had shown him was that people tend naturally toward light, toward its source, as sunflowers do in a field. People lean, either in their dreams or in their actions, toward that place where they suspect their inner lights are coming from. Whether they call it God or conscience or the manual of Army protocol, people sublime toward where their inner fire burns, and given enough fuel for thought and a level playing field to dream on, anyone can leave a fingerprint on the blank of history. That's what Fos believed.

And the days move on and the names of the months change and the four seasons bury one another and it is spring again and yet again and the small streams that run over the rough sides of Gormenghast Mountain are big with rain while the days lengthen and summer sprawls across the countryside, sprawls in all the swathes of its green, with its gold and sticky head, with its slumber and the drone of doves and with its butterflies and its lizards and its sunflowers, over and over again, its doves, its butterflies, its lizards, its sunflowers, each one an echo-child while the fruit ripens and the grotesque boles of the ancient apple trees are dappled in the low rays of the sun and the air smells of such rotten sweetness as brings a hunger to the breast, and makes of the heart a sea-bed, and a tear, the fruit of salt and water, ripens, fed by a summer sorrow, ripens and falls … falls gradually along the cheekbones, wanders over the wastelands listlessly, the loveliest emblem of the heart’s condition. And the days move on and the names of the months change and the four seasons bury one another and the field-mice draw upon their granaries. The air is murky, and the sun is like a raw wound in the grimy flesh of a beggar, and the rags of the clouds are clotted. The sky has been stabbed and has been left to die above the world, filthy, vast and bloody. And then the great winds come and the sky is blown naked, and a wild bird screams across the glittering land. And the Countess stands at the window of her room with the white cats at her feet and stares at the frozen landscape spread below her, and a year later she is standing there again but the cats are abroad in the valleys and a raven sits upon her heavy shoulder. And every day the myriad happenings. A loosened stone falls from a high tower. A fly drops lifeless from a broken pane. A sparrow twitters in a cave of ivy. The days wear out the months and the months wear out the years, and a flux of moments, like an unquiet tide, eats at the black coast of futurity. And Titus Groan is wading through his boyhood.

Then one by one they raised their faces to the sky. 'Like a field of sunflowers'.

Happy, he was my image of it, bright sunflowers in a field of green.

The idea of saying goodbye was unbearable. Emory had walked back into his life, carved herself a place in it despite all his trepidations, and though Baz doubted he would ever feel fearless like Kai or Romie, he knew Emory had made him want to fear less. This girl who’d laughed in fields of gold, who’d made sunflowers bloom, who’d looked up at the stars with him and thought they were lost should trying to find their way home.

To those who may have wisely kept their fancies within the boundary of the fields we know it is difficult for me to tell of the land to which Alveric had come, so that in their minds they can see that plain with its scattered trees and far off the dark wood out of which the palace of Elfland lifted those glittering spires, and above them and beyond them that serene range of mountains whose pinnacles took no colour from any light we see. Yet it is for this very purpose that our fancies travel far, and if my reader through fault of mine fail to picture the peaks of Elfland my fancy had better have stayed in the fields we know. Know then that in Elfland are colours more deep than are in our fields, and the very air there glows with so deep a lucency that all things seen there have something of the look of our trees and flowers in June reflected in water. And the colour of Elfland, of which I despaired to tell, may yet be told, for we have hints of it here; the deep blue of the night in Summer just as the gloaming has gone, the pale blue of Venus flooding the evening with light, the deeps of lakes in the twilight, all these are hints of that colour. And while our sunflowers carefully turned to the sun, some forefather of the rhododendrons must have turned a little towards Elfland, so that some of that glory dwells with them to this day.

That, too, was in the air itself -- a whisper of apology when the smell of the soil carried. There should be pumpkins in the fields, or sunflowers, or the peppers you saw up north. Instead, it was the smell of old earth that the breezes caught, sometimes a tinge of death. Too hard to forget.

Did THEY also hear those notes he heard in memories, that soared and dived and trilled and sparkled in mesmeric intervals with the familiar, “lu, lu, lu, lu,” that had soothed and comforted him? It transported him to fields of gold and peaceful days, peaceful nights when the only sound was the twitching of birds in the hedgerows.

As we walked homeward across the fields, the sun dropped and lay like a great golden globe in the low west. While it hung there, the moon rose in the east, as big as a cart-wheel, pale silver and streaked with rose color, thin as a bubble or a ghost-moon. For five, perhaps ten minutes, the two luminaries confronted each other across the level land, resting on opposite edges of the world. In that singular light every little tree and shock of wheat, every sunflower stalk and clump of snow-on-the-mountain, drew itself up high and pointed; the very clods and furrows in the fields seemed to stand up sharply. I felt the old pull of the earth, the solemn magic that comes out of those fields at nightfall. I wished I could be a little boy again, and that my way could end there.

And there were so many places to go. Thickets of bramble. Fallen trees. Ferns, and violets, and gorse, paths all lined with soft green moss. And in the very heart of the wood, there was a clearing, with a circle of stones, and an old well in the middle, next to a big dead oak tree, and everything- fallen branches, standing stones, even the well, with its rusty pump- draped and festooned and piled knee-high with ruffles and flounces of strawberries, with blackbirds picking over the fruit, and the scent like all of summer. It wasn't like the rest of the farm. Narcisse's farm is very neat, with everything set out in its place. A little field for sunflowers: one for cabbages; one for squash; one for Jerusalem artichokes. Apple trees to one side; peaches and plums to the other. And in the polytunnels, there were daffodils, tulips, freesias; and in season, lettuce, tomatoes, beans. All neatly planted, in rows, with nets to keep the birds from stealing them. But here there were no nets, or polytunnels, or windmills to frighten away the birds. Just that clearing of strawberries, and the old well in the circle of stones. There was no bucket in the well. Just the broken pump, and the trough, and a grate to cover the hole, which was very deep, and not quite straight, and filled with ferns and that swampy smell. And if you put your eye to the grate, you could see a roundel of sky reflected in the water, and little pink flowers growing out from between the cracks in the old stone. And there was a kind of draught coming up from under the ground, as if something was hiding there and breathing, very quietly.

I know I will not find us lying beneath the stars. We won’t be walking through the sunflower fields. We won’t fall in love with the sun rise, or kiss in the afternoon. Maybe I’ll miss you, and then I’ll cry for you. And when I’ll miss you, I’ll look for you on my bookshelf. You’ll be there in between four hundred pages. Maybe covered in dust, maybe stained with tears, I’ll wipe it with my yellow t-shirt, The one I wore on October first. But no matter how much I cry, with a broken heart, on a Saturday night. I’ll grab the book close to my heart. Then I’ll close my hazy eyes and see you smile under clear sky. I’ll stay an old soul and you’ll stay my vintage dream. A dream that will bring me back to life like a fantasy novel, and break my heart like a dead poetry. I’ll open my eyes, the illusions will be destroyed. But no matter how much I cry. About you, I’ll never write. This isn’t our song. But years later, on a winter night, if ever, you’ll call it our song. Then believe me, in a blink, I’ll call it a love song.

For five, perhaps ten minutes, the two luminaries confronted each other across the level land, resting on opposite edges of the world. In that singular light every little tree and shock of wheat, every sunflower stalk and clump of snow-on-the-mountain, drew itself up high and pointed; the very clods and furrows in the fields seemed to stand up sharply. I felt the old pull of the earth, the solemn magic that comes out of those fields at nightfall. I wished I could be a little boy again, and that my way could end there.

After Mum finished her seventh day of work, she returned home, and, like some strange magician, pulled out from the breast of her coat a beautiful bunch of wildflowers. Where had she got them? I wondered. I remember I cupped the wild bouquet in my hands and marched outside, scanning the landscape in all directions for any sign of where they might've come from. Wide-open emptiness stretched out before me. Dry and unwelcoming. And yet... in my palm I held moist, healthy, vigorous life. How? The answer was not forthcoming, so I returned inside, found an empty bottle of spring water, filled it once more and placed the flowers in it. They were the only source of colour in our tattered, underground home. Three days later and still the flowers endured. Their life hung on.

Sometimes 1. Something came up out of the dark. It wasn’t anything I had ever seen before. It wasn’t an animal or a flower, unless it was both. Something came up out of the water, a head the size of a cat but muddy and without ears. I don’t know what God is. I don’t know what death is. But I believe they have between them some fervent and necessary arrangement. 2. Sometime melancholy leaves me breathless… 3. Water from the heavens! Electricity from the source! Both of them mad to create something! The lighting brighter than any flower. The thunder without a drowsy bone in its body. 4. Instructions for living a life: Pay attention. Be astonished. Tell about it. 5. Two or three times in my life I discovered love. Each time it seemed to solve everything. Each time it solved a great many things but not everything. Yet left me as grateful as if it had indeed, and thoroughly, solved everything. 6. God, rest in my heart and fortify me, take away my hunger for answers, let the hours play upon my body like the hands of my beloved. Let the cathead appear again- the smallest of your mysteries, some wild cousin of my own blood probably- some cousin of my own wild blood probably, in the black dinner-bowl of the pond. 7. Death waits for me, I know it, around one corner or another. This doesn’t amuse me. Neither does it frighten me. After the rain, I went back into the field of sunflowers. It was cool, and I was anything but drowsy. I walked slowly, and listened to the crazy roots, in the drenched earth, laughing and growing. Mary Oliver, Red Bird (Beacon Press, 2008)

The rapid growth of Message- combined with an outpouring of florists offering consultations in the language of flowers to the streams of brides Marlena and I turned away- caused a subtle but concrete shift in the Bay Area flower industry. Marlena reported that peony, marigold, and lavender lingered in their plastic buckets at the flower market while tulips, lilac, and passionflower sold out before the sun rose. For the first time anyone could remember, jonquil became available long after its natural bloom season had ended. By the end of July, bold brides carried ceramic bowls of strawberries or fragrant clusters of fennel, and no one questioned their aesthetics but rather marveled at the simplicity of their desire. If the trajectory continued, I realized, Message would alter the quantities of anger, grief, and mistrust growing in the earth on a massive scale. Farmers would uproot fields of foxglove to plant yarrow, the soft clusters of pink, yellow, and cream the cure to a broken heart. The prices of sage, ranunculus, and stock would steadily increase. Plum trees would be planted for the sole purpose of harvesting their delicate, clustered blossoms and sunflowers would fall permanently out of fashion, disappearing from flower stands, craft stores, and country kitchens. Thistle would be cleared compulsively from empty lots and overgrown gardens.

A musical laugh sprang free, her happy smile trailing behind, and I was in heaven. “Until you,” she agreed. She squinted one eye and added, “Though you should know, I’m probably gonna be really, really bad at it.” The expression on her face said she honestly believed it, and I couldn’t wait to prove her wrong. I leaned close to her ear and whispered across her skin, “That’s impossible.” Peyton’s breath caught in a gasp, and I angled back to see her face. That’s when the moment changed. Sounds of the emptying baseball field fell away. The cool air around us kindled. The soft smile on her face faded as she looked into my eyes, shifting her gaze between them to see what I’d do next. Part of me wondered the same thing. I’d kissed dozens of girls before. Some I wanted, others purely because I was bored. But I’d never felt anything like this. Anticipation. Want. Fear. Unlike any other kiss I’d ever shared, this one needed to be epic. Girls remembered their first kiss for the rest of their lives, and I had to leave Peyton with something good to cling to later… when I inevitably screwed everything up. Gauging her reaction, I slowly lowered my head and watched her soft lips part. Adrenaline surged through my veins at the swipe of her tongue. She nodded once, silently giving me permission, then closed her eyes. Inhaling the scent of sunflowers, I kissed her.

And for the four remaining days - the ninety-six remaining hours - we mapped out a future away from everything we knew. When the walls of the map were breached, we gave one another courage to build them again. And we imagined our home an old stone barn filled with junk and wine and paintings, surrounded by fields of wildflowers and bees. I remember our final day in the villa. We were supposed to be going that evening, taking the sleeper back to England. I was on edge, a mix of nerves and excitement, looking out to see if he made the slightest move toward leaving, but he didn’t. Toiletries remained on the bathroom shelves, clothes stayed scattered across the floor. We went to the beach as usual, lay side by side in our usual spot. The heat was intense and we said little, certainly nothing of our plans to move up to Provence, to the lavender and light. To the fields of sunflowers. I looked at my watch. We were almost there. It was happening. I kept saying to myself, he’s going to do it. I left him on the bed dozing, and went out to the shop to get water and peaches. I walked the streets as if they were my new home. Bonjour to everyone, me walking barefoot, oh so confident, free. And I imagined how we’d go out later to eat, and we’d celebrate at our bar. And I’d phone Mabel and Mabel would say, I understand. I raced back to the villa, ran up the stairs and died. Our rucksacks were open on the bed, our shoes already packed away inside. I watched him from the door. He was silent, his eyes red. He folded his clothes meticulously, dirty washing in separate bags. I wanted to howl. I wanted to put my arms around him, hold him there until the train had left the station. I’ve got peaches and water for the journey, I said. Thank you, he said. You think of everything. Because I love you, I said. He didn’t look at me. The change was happening too quickly. Is there a taxi coming? My voice was weak, breaking. Madame Cournier’s taking us. I went to open the window, the scent of tuberose strong. I lit a cigarette and looked at the sky. An airplane cast out a vivid orange wake that ripped across the violet wash. And I remember thinking, how cruel it was that our plans were out there somewhere. Another version of our future, out there somewhere, in perpetual orbit. The bottle of pastis? he said. I smiled at him. You take it, I said. We lay in our bunks as the sleeper rattled north and retraced the journey of ten days before. The cabin was dark, an occasional light from the corridor bled under the door. The room was hot and airless, smelled of sweat. In the darkness, he dropped his hand down to me and waited. I couldn’t help myself, I reached up and held it. Noticed my fingertips were numb. We’ll be OK, I remember thinking. Whatever we are, we’ll be OK. We didn’t see each other for a while back in Oxford. We both suffered, I know we did, but differently. And sometimes, when the day loomed gray, I’d sit at my desk and remember the heat of that summer. I’d remember the smells of tuberose that were carried by the wind, and the smell of octopus cooking on the stinking griddles. I’d remember the sound of our laughter and the sound of a doughnut seller, and I’d remember the red canvas shoes I lost in the sea, and the taste of pastis and the taste of his skin, and a sky so blue it would defy anything else to be blue again. And I’d remember my love for a man that almost made everything possible./

She'd loved birds long before her physical limitations kept her grounded. She'd found a birding diary of her grandmother's in a trunk in the attic when she was Frankie's age, and when she asked her father about it, he dug through boxes on a shelf high above her head, handing down a small pair of binoculars and some field guides. She'd seen her first prothonotary warbler when she was nine, sitting alone on a tupelo stump in the forest, swatting at mosquitoes targeting the pale skin behind her ears. She glanced up from the book she was reading only to be startled by an unexpected flash of yellow. Holding her breath, she fished for the journal she kept in her pocket, focusing on the spot in the willow where he might be. A breeze stirred the branches, and she saw the brilliant yellow head and underparts standing out like petals of a sunflower against the backdrop of leaves; the under tail, a stark white. His beak was long, pointed and black; his shoulders a mossy green, a blend of the citron yellow of his head and the flat slate of his feathers. He had a black dot of an eye, a bead of jet set in a field of sun. Never had there been anything so perfect. When she blinked he disappeared, the only evidence of his presence a gentle sway of the branch. It was a sort of magic, unveiled to her. He had been hers, even if only for a few seconds. With a stub of pencil- 'always a pencil,' her grandmother had written. 'You can write with a pencil even in the rain'- she noted the date and time, the place and the weather. She made a rough sketch, using shorthand for her notes about the bird's coloring, then raced back to the house, raspberry canes and brambles speckling bloody trails across her legs. In the field guide in the top drawer of her desk, she found him again: prothonotary warbler, 'prothonotary' for the clerks in the Roman Catholic Church who wore robes of a bright yellow. It made absolute sense to her that something so beautiful would be associated with God. After that she spent countless days tromping through the woods, toting the drab knapsack filled with packages of partially crushed saltines, the bottles of juice, the bruised apples and half-melted candy bars, her miniature binoculars slung across one shoulder. She taught herself how to be patient, how to master the boredom that often accompanied careful observation. She taught herself how to look for what didn't want to be seen.

One rainy summer's day in 2007, I had the opportunity to visit a village on the bank of a river where Van Gogh spent his final days. Walking through a field of wheat, I came to a quiet village cemetery. The artist shot himself in the chest at the age of 37. He had sold only one painting while he was alive. Next to him lies his brother Theo, who died just six months after him. After leaving Van Gogh's very tiny room on the second story of the Auberge Ravoux, I walked on and on, down the country road. The rain stopped and the sunflowers swayed in the breeze.

Birds, and bees, and rustling trees create a summer tune. Flanked by fields of sunflowers, hand in hand we walk. As the gentle sound of nature surrounds us while we talk.

[...] sunflowers in fields, titling their necks longingly towards a shifting sun, like lovers who knew they would never be loved the way they wished.

what is it with you and sunflowers he asks i point to the field of yellow outside sunflowers worship the sun i tell him only when it arrives do they rise when the sun leaves they bow their heads in mourning that is what the sun does to those flowers it’s what you do to me - the sun and her flowers

stretches, save for the very occasional twinkling lights from a village or small town. I always imagine how hard it must have been walking on foot during the prehistoric period across this vast and desolate space. After reaching Novosibirsk we drive for five or six hours across the flat steppe of southern Siberia, through miles of wheat and sunflower fields in the summer, before the topography changes and low hills come into view. The roads become rougher and more shingly, potholes appear, and the path is occasionally washed out completely by a river. Just as the bouncing and lurching of the four-wheel drive becomes intolerable, and after some eleven hours’ travelling in total, the base camp of the Denisova team finally appears and it’s time to see old friends, settle in, unpack and relax, usually over a few shots of vodka and an amiable dinner. The first time I ate with my Russian colleagues, I had to explain to Professor Michael Shunkov, co-director of the excavations at Denisova, that I was a vegetarian. When his translator conveyed my message Michael immediately replied, in perfect Russian-English, ‘You will not survive in Siberia!’ Meat is indeed usually on the menu, but Russian hospitality means that I have never gone hungry yet.

I think it is the removal of the sun’s influence that has made us mad; the sun is blocked that used years ago to scrape the unreal shadow from our brain. So I always make a field, and I plant sunflowers, and their shadows move gently in the snow, and I pick up the pieces of dull stones that once were thoughts in precipitate flight in a friction of fire, like shooting stars in the sky.

pausing before Sunflowers as though personally responsible for introducing the artist to the group. ‘Impasto – see how thick he lays on the paint. Uses the canvas as a pallet! And another van Gogh–see the many strokes.’  Jack was astonished by the effect of the scene before him: a bright yellow sunset, in the foreground a man in a field. Not worked with the brushstrokes that he was familiar with, but rather, the image was created by thousands of tiny dashes in as many colourful shades. Immediately beside it was a painting by Georges Seurat.

Writing is neither vibrant life nor docile artifact but a text that would put all its money on the hope of suggestion. Come with me into the field of sunflowers is a better line than anything you will find here, and the sunflowers themselves far more wonderful than any words about them.

I go to Fethiye every summer, the corn and sunflower fields, palm trees have always attracted me with their nature and the variety of crops shines like a sun in the Anatolian geography, I think I have succumbed to this beautiful geography like icarus succumbing to the beauty of the sun. Every piece of land on the Mediterranean is created as if there should be one in the world. Every civilization that lives on the Mediterranean has left stories and artifacts to the world that cannot be made like the same. Every plant that grows and every meal that is cooked has become the foundations of our day. The clear Mediterranean shines like a sun that still continues to illuminate the world, and it makes us feel the past with its unchanging fields despite every changing place.

Every moment was a salutary illusion, to confuse the sunset from late hours with the golden fields of sunflowers, to then merge in its awakening fusion.

It is the year they climb over Do Not Trespass signs and run through fields of sunflowers triple Wren's height, look up to their drooping, dappled heads, and see not only the seeding part of the plant but also the many faces of a benevolent, adjusting God.

She stood watching the sun disappear beneath the sunflower field under the hills and felt as liberated as the wind.

Is it enough to live in a universe whose laws spontaneously create life? Or do you prefer ... God?” She paused, looking embarrassed. “Sorry, after all we’ve been through tonight, I know that’s a strange question.” “Well,” Langdon said with a laugh, “I think my answer would benefit from a decent night’s sleep. But no, it’s not strange. People ask me all the time if I believe in God.” “And how do you reply?” “I reply with the truth,” he said. “I tell them that, for me, the question of God lies in understanding the difference between codes and patterns.” Ambra glanced over. “I’m not sure I follow you.” “Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.” Ambra grasped the concept, but not how it related to God. “The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.” Ambra nodded. “So codes always have an intention or awareness behind them.” “Exactly. Codes don’t appear organically; they must be created.” Ambra studied him a long moment. “What about DNA?” A professorial smile appeared on Langdon’s lips. “Bingo,” he said. “The genetic code. That’s the paradox.” Ambra felt a rush of excitement. The genetic code obviously carried data — specific instructions on how to build organisms. By Langdon’s logic, that could mean only one thing. “You think DNA was created by an intelligence!” Langdon held up a hand in mock self-defense. “Easy, tiger!” he said, laughing. “You’re treading on dangerous ground. Let me just say this. Ever since I was a child, I’ve had the gut sense that there’s a consciousness behind the universe. When I witness the precision of mathematics, the reliability of physics, and the symmetries of the cosmos, I don’t feel like I’m observing cold science; I feel as if I’m seeing a living footprint ... the shadow of some greater force that is just beyond our grasp.

Once Addie had gotten in my car, she had given me two names, along with a plea to save one of them from a sunflower field. Rio’s sister, Katerina Sanchez, and her groomer, Lillian Berez.

Katerina Sanchez, she’s fifteen years old. I believe she’s with a groomer by the name of Lillian Berez. Last time I saw a picture of her was three months ago, and she was standing in front of a sunflower field.

America, this is what my God has told me about you— you field of dying sunflowers, you semiautomatic gun slinging unsanctuary, you apparition that is the crowd gathered beneath yet another oak tree on the postcard— Justice is not a pendulum Justice is not a hammer Justice is not a bandage it is water, and your better angels have long sung of its rolling tide, calling those things which are not as though they were. Am I crazy, America, letting you inside me again and again though you do not even love me...

Ipseity Though the sun is bright, it doesn't fill me with warmth, doesn't cheer me into a smile. Clearly, being in a field of sunflowers has not made me one.

I felt rippling wheat field and crows circling within me. I was a vase of sunflowers ready to spit seeds like weapons at the world. I understood how a man could be mad enough to slice off his own ear, just to get back the person he loved most in the world.

Knowing that R. L.’s death at nineteen is not his end, Mrs. O’Brien and Jack can trust the nuns. Those who live in the way of grace may die young. They may die horribly. But they never come to a bad end because death is not the end. We are quite a ways beyond Heidegger here. Whatever other influence he had on Malick’s vision, Malick doesn’t accept that death is the limit, that time has a final horizon beyond which the rest is silence. Beyond death there is reconciliation, reunion, hope. Beyond death, there are sunflowers. The sunflower is a perfect image for the way of grace. Its name is suggestive of heavenly glory. In color and shape, it is a reflex of the burning suns of what might be an infinite universe. Malick uses Hubble Telescope pictures of deep space, but one doesn’t have to have a telescope to see the glory shine. Suns grow in the backyard, if we our eyes are open windows. Sunflowers follow the sun through the day, the perfect botanical expression of the way of grace that receives the glory. It’s the perfect Heideggerian flower that never forgets Being. But Malick does something stunning with his sunflowers. The first shot of is a close-up of a single flower, as Mrs. O’Brien speaks of the way of grace. We can see others dancing in the wind behind, but we concentrate on this one. At the end of the film, the camera pulls back, a brilliant blue sky fills the top two-thirds of the screen, and we see a breathtaking field of sunflowers. Through the suffering and loss that the movie depicts, the single sunflower of grace blossoms into a field of sunflowers. It’s Job, surrounded by his second family that he can love. It’s Brothers Karamazov. It’s the Agnus Dei and all seeds that go into the earth to die, so they can produce fruit.

Happy, he was my image of it, bright sunflowers in a field of green. But what of his words? Carefully chosen syllables radiating kindness and grace it always brought a smile upon my face.

The Aztecs grew sunflowers even before they grew corn, squash, and beans; and when the Spanish came looking for gold they found entire fields of it in this solar beauty.

France banned the products in 1999 after they were linked to major losses in sunflower fields and a disorder that local beekeepers took to calling “mad bee disease.” Sales had also been suspended in Germany, Italy, and Slovenia.

Even in a crowd of hundreds, she stood out like a sunflower in a field of weeds.

A Magic Hour’s Dreaming by Stewart Stafford Is there a sight more fair than wheaten fields, Awaiting the sun's ambush to potently ignite? Colour vibrates beyond the eye revealed, To live, dance and breathe in honeyed light. Nature’s palette, painted hues so bright, Invites the bees to sip and man to dream, Of engineered art, dazzling to the sight, Authored lightning in a celestial seam. The creator’s canvas, mint beyond decay, Invites the inner child to replenish at source, Where Nature’s staff casts shadows away, Friendships bond as a trickling stream's course. An eyeblink flash carved in history's tree, Treasured riches pooled of those by our side. For in sepia’s sunflower memory, We court the hand of an agreeable bride. Fading birdsong underscores this bottled time, In butterfly hearts, the hourglass stilled sublime. Autumn's leaves, ochre embers, curtsied fall, Farewell Summer, until roused in New Year's call. © 2024, Stewart Stafford. All rights reserved.